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JOUSSE^    JUL  271965 

Musical  Catechism 


IMPROVED,  REVISED  &  CORRECTED 


By  J.  JOUSSE 

INCLUDING 

Dictionary  of  Musical  Terms 
Burrowes*  Guide  to  Practice 
Mohr's  Thirty  Home  Rules 


PHILADELPHIA 

THEO.  PRESSER  COMPANY 

1712  Chestnut  Street 


PREFACE  TO  JOUSSE'S  CATECHISM, 


" Times  change  and  men  change  with  them;" 
an  adage  that  is  especially  applicable  to  musical 
art.  But  it  is  only  the  progressive  teacher  who 
changes  with  the  " times'*  and  he  demands  that 
the  text  books  and  studies  for  his  use  shall  be 
of  the  most  advanced  character.  To  meet  these 
demands,  the  " Latest  Improved  Edition"  of  this 
excellent  work  has  been  prepared.  The  long  con- 
tinued popularity  of  the  Catechism  in  Europe  and 
in  this  country  is  the  test  of  its  merit  and  the 
guarantee  of  the  correctness  of  its  principles ; 
however,  it  needed  revision,  that  the  latest  and 
best  ideas  might  be  introduced  and  the  explana- 
tions made  more  explicitly  clear.  This  has  been 
carefully  done  and  the  book  is  offered  to  the 
teacher  and  student  with  a  feeling  of  confidence 
that  it  will  be  found  a  reliable  and  worthy 
assistant. 

Thos.  a'Becket. 


Copyright,  1892,  by  B.  F.  Banks  &  Co. 


CONTENTS 


PAGK 

Chapter  I. — On  the  Notes  and  Clefs 5 

Chapter  II. — On  the  Key-board 13 

Chapter  III. — On  the  Various   Kinds   of  Notes  and  their 

Values 15 

Chapter  IV. — On  the  Dot  and  the  proportion  of  the  Notes....  18 

Chapter  V. — On  Rests :. 21 

Chapter  VI. — On  the  Sharp,  the  Flat,  and  the  Natural 22 

Chapter  VII. — On  the  Double  Sharp  and  Double  Flat 27 

Chapter  VIII. — On  the  Formation  of  the  Scale 28 

Chapter  IX. — On  the  Keys  and  Modes 32 

Chapter  X. — On  Time 38 

Chapter  XI. — On  Counting  and  Beating  Time 41 

Chapter  XII. — On  the  Italian  words  denoting  the  Speed  and 

the  Character  of  a  Movement 44 

Chapter  XIII. —  On  Graces  or  Embellishments 46 

Chapter  XIV. — On  Expression 51 

Chapter  XV. — On  some  Characters  in  Common  Use 61 

Chapter  XVI. — On  Abbreviations  and  Licenses 64 

Chapter  XVII. — On  the   Position  of  the    Body,  Arms  and 

Hands  at  the  Piano-forte 66 

Chapter  XVIII. — On  Fingering 67 

Chapter  XIX. — On  Transposition  75 

Chapter  XX. — Dictionary  of  Terms 81 

Burrowes'  Guide  to  Practice 89 

Mohr,  H.,  Thirty  Home  Rules nx 

(3) 


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A  CATECHISM  OF  MUSIC. 


CHAPTER  I. 


ON   THE    NOTES    AND   CLEFS. 


What  is  music? 

The  combinations  and  succession  of  sounds. 

What  is  a  succession  of  single  sounds  called? 

Melody. 

What  name  is  given  to  several  sounds  in  combination? 

Harmony. 

How  are  musical  ideas  expressed  in  writing? 

By  characters  called  notes. 

How  many  notes  are  there  in  music? 

Seven. 

(5) 


6  CHAPTER    I.  —  NOTEb   AND    CLEFS. 

How  are  they  expressed? 

By  the  first  seven  letters  of  the  alphabet : 
A,  B,  C,  D,  E,  F,  G.  In  the  French  and  Italian 
methods  they  are  expressed  by  the  following 
syllables  : 

Do,  Re,  Mi,  Fa,  Sol,  La,  Si. 

C,  D,  E,  F,  G,  A,  B. 

How  are  the  n^tes  written? 

On  five  parallel  lines  and  the  four  intermediate 
spaces  ;   these  are  called  the  staff ,  or  stave. 

Lines.  Spaces. 


How  are  the  lines  and  spaces  of  the  ttaff  counted? 

From  the  bottom  upward. 

How  are  the  names  of  the  notes  and  their  pitch  ascertained? 

By  a  character  called  a   Clef,  which  is  placed 
at  the  beginning  of  the  staff. 

How  many  Clefs  are  used  in  Piano-Forte  music? 

Two  ;   namely,  the  Treble  Clef  and  the  Bass 
Clef. 

On  what  line  of  the  staff  is  the  Treble  Clef  placed? 

On  the  second  line. 


CHAPTER   I. — NOTES   AND   CLEFS. 

V.'hat  letter  does  it  represent? 

The  letter  G. 

Treble  Clef. 


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G 


What  are  the  names  of  the  five  lines  of  the  Treble  staff? 

The  first  line  is  E,  the  second  G,  the  third  Bi 
the  fourth  D,  and  the  fifth  F. 

Notes  on  the  Lines. 


1 


E 


B        D 


What  are  the  names  of  the  four  spaces? 

The  first  space  is  F,  the  second  A,  the  third  C, 
and  the  fourth  E. 


Notes  in  the  Spaces. 


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F        A 

Are  the  notes  always  confined  within  the  five  lines  and  four 
spaces  of  the  staff? 

No  ;   they  often  extend  above  and  below  the 
staff ;    then   small  lines,   called  leger   lines,   are 


8 


CHAPTER    I.  — NOTES   AND    CLEFS. 


added  above  or  below  the  staff,  and  the  notes  are 
placed  on  or  between  them. 


Give  the  names  of  the  additional   lines    above    the   Treble 


staff? 


The   first  leger  line  is  A,  the  second  C,  the 
third  E,  the  fourth  G,  and  the  fifth  B. 

Notes  on  the  Leger  Lines. 


3 


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A        C        E        G        B 


Name  the  notes  in  the  additional  spaces  above  the  staff? 

The  first  space  is  G,  the  second  B,  the  third  D, 
the  fourth  F,  the  fifth  A,  and  the  sixth  C. 


1 


Notes  in  the  Spaces. 


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G        B        D        F        A        C 


CHAPTER  I. — NOTES  AND  CLEFS 


What  are  the  names  of  the  additional  lines  below  the  staff . 

The  first  leger  line  below  the  staff  is  C,  the 
second  A,  the  third  F. 

Notes  on  the  Leger  Lines. 
12  3 


C 


A    - 


F    . 


What  are  the  names  of  the  additional  spaces  below  the  staff? 

The    first    space    is    D,    the    second    B,    the 
third  G. 

Notes  in  the  Spaces. 
12  3 


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Names  of  the  Notes  on  the  Treble  Staff. 





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Note. — See  that  the  notes  on  the  Treble  staff  are  thoroughly 
mastered  before  studying  those  of  the  Bass. 


IO 


CHAPTER    I. — NOTES   AND    CLEFS. 


THE    BASS    CLEF. 
On  what  line  is  the  Bass  Clef  placed? 

On  the  fourth  line. 

What  letter  does  it  represent? 

The  letter  F. 

Bass  Clef. 


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1 


What  are  the  names  of  the  five  lines  of  the  Bass  staff? 

The  first  line  is  G,  the  second  B,  the  third  D, 
the  fourth  F,  and  the  fifth  A. 

Notes  on  the  Lines. 


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B 


D 


What  are  the  names  of  the  four  spaces  ? 

The  first  space  is  A,  the  second  C,  the  third  E, 
and  the  fourth  G. 

Notes  in  the  Spaces. 


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CHAPTER    I. — NOTES   AND    CLEFS. 


TI 


Name  the  additional  lines  above  the  Bass  staff? 

The  first  leger  line  is  C,  the  second  E,  the 
third  G. 

Notes  on  the  Leger  Lines. 

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Give  the  names  of  the  additional  spaces  above  the  Bass  staff? 

The  first  space  above  is  B,  the  second  D,  the 
third  F. 

Notes  in  the  Spaces. 


S 


B        D        F 


What  are  the  names  of  additional  lines  below  the  Bass  staff? 

The  first  leger  line  is  E,  the  second  C,  the 
third  A,  and  the  fourth  F. 


12  CHAPTER    I.— NOTES   AND   CLEFS. 


Notes  on  the  Leger  Lines. 
12  3  4 


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What  are  the  names  of  the  additional  spaces  below  the  staff? 

The  first  space  below  the  staff  is  F,  the  second 
D,  the  third  B,  and  the  fourth  G. 


Notes  in  the  Spaces. 
12  3  4 


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Names  of  the  Notes  on  the  Bass  Staff. 


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CHAPTER  il. 

ON    THE    KEY-BOARD. 


How    many  white  keys  are  there  on  a  seven  octave  Piano- 
Forte? 

Fifty. 

What  are  they  called? 

Naturals. 

How  many  black  keys  are  there? 

Thirty-five. 

What  are  they  called? 

Sharps  and  fiats. 

On  what  key  is  the  Bass  Clef  note  played,  reckoning  from 
the  bottom  ? 

On  F;   two  octaves  above  the  lowest  F. 

On  what  key  is  the  Treble  Clef  note  played? 

On  G  ;   the  ninth  above  F,  the  Bass  Clef  note. 

How  are  the  keys  divided? 

The  white  keys  are  in  regular  succession  ;  the 
black  keys  are  divided  into  clusters  of  three  and 
two  alternately. 

What  is  the  name  of  the  white  key  at  the  left  of  the  two 
black  keys? 

It  is  called  C. 

(13) 


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T4  CHAPTER    II. — KEY-BOARD. 

What  is  the  name  of  the  white  key  at  the  left  of  the  thre« 
black  keys? 

It  is  called  F. 

Can  you  by  these  two  keys,  C  and  F,  find  the  name  of  any 
other  key? 

Yes  ;  by  naming  the  keys  according  to  the 
order  of  seven  letters,  A,  B,  C,  D,  E,  F,  G. 

What  is  the  use  of  the  black  keys? 

Each  black  key  serves  for  the  sharp  of  the  key 
below,  and  for  the  flat  of  the  key  above.  The 
black  key  above  C  is  C  sharp,  which  black  key 
serves  also  for  D  flat. 

Where  are  B  sharp  and  E  sharp  played,  as  there  is  no  black 
key  above  B  or  E? 

B  sharp  is  played  on  the  key  of  C,  and  E  sharp 
on  F. 

Where  are  C  flat  and  F  flat  played,  there  being  no  black  key 
below  C  or  F. 

C  flat  is  played  on  the  key  of  B,  and  F  flat 
on  E. 

Why  is  there  no  black  key  between  B  and  C  or  between  E 
and  F? 

Because  these  keys  are  only  a  half  tone,  or 
semitone,  distant  from  each  other  ;  the  other  white 
keys  are  a  whole  tone  apart,  as  there  is  a  black  key 
between  them. 


CHAPTER   ii(. 


ON    THE   VARIOUS    KINDS    OF   NOTES   AND 
THEIR   VALUES. 


How  many  different  kinds  of  notes  are  there? 

Seven. 

What  are  they  ? 

The    whole,   half,  quarter,  eighth,  sixteenth, 
thirty -second,  and  sixty  fourth. 

Describe  their  shape? 

i.  The  whole  is  oval  in  shape,  and  an  open,  & 
or  white,  note. 

2.  The  half  is  an  open  note  with  a  stem. 

3.  The  quarter  is  a  black  note  with  a  stem.   | 

4.  The  eighth  is  a  black  note,  stem,  and  a  | 

hook.  ^ 

5.  The  sixteenth  is  a  black  note,  stem,  and  y 

two  hooks.  ^ 

6.  The  thirty-second  is  a  black  note,  stem,  H 

and  three  hooks.  / 

7.  The  sixty-fourth  is  a  black  note,  and  has  jj 

four  hooks.  }/ 

/ 

What  proportion  do  these  notes  bear  to  each  other? 

Each  note  is  equal  in  duration  to  one  half  of 
the  preceding,  and  double  of  the  following  note. 

(15) 


l6    CHAPTER    III. — NOTES   AND   THEIR    VALUES. 


PROPORTION    OF   THE   NOTES. 
How  many  half  notes  make  a  whole? 

Two. 

How  many  quarters  make  a  whole? 

Four. 

How  many  eighths  make  a  whole? 

Eight. 

How  many  sixteenths  make  a  whole? 

Sixteen. 

How  many  thirty-seconds  make  a  whole? 

Thirty-two. 

How  many  sixty-fourths  make  a  whole? 

Sixty-four. 

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(The  stems  of  the  notes  may  be  turned  either  way,  up  or 
down.) 


CHAPTER    III. — NOTES    AND   THEIR   VALUES.     I? 

How  many  quarters  make  a  half? 

Two. 

How  many  eighths  make  a  half? 

Four. 

Hew  many  sixteenths  make  a  half? 

Eight. 

How  many  thirty-seconds  make  a  half? 

Sixteen. 

How  many  sixty-fourths  make  a  half? 

Thirty-two. 

How  many  eighths  make  a  quarter? 

Two. 

How  many  sixteenths  make  a  quarter? 

Four. 

How  many  thirty-seconds  make  a  quarter? 

Eight. 

How  many  sixty-fourths  make  a  quarter  ? 

Sixteen. 

How  many  sixteenths  make  an  eighth? 

Two. 

How  many  thirty- seconds  make  an  eighth  * 

Four. 

How  many  sixty-fourths  make  an  eighth? 

Eight. 

How  many  thirty-seconds  make  a  sixteenth? 

Two. 

How  many  six'y-fourths  n.ake  a  sixteenth? 

Four. 

(The  pupil  will  derive  much  benefit  from  writing  exercises 
on  the  proportion  of  the  notes.) 


CHAPTER  IV. 

ON  THE  DOT  AND  THE  PROPORTION 
OF  THE  NOTES. 


What  is  the  effect  of  a  dot  after  a  note? 

It  increases  the  value  of  the  note  one  half. 

How  many  half  notes  are  there  in  a  dotted  whole? 

Three. 

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r  r  r 

How  many  quarters  in  a  dotted  whole  note? 

Six. 


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How  many  eighths? 

Twelve. 

How  many  sixteenths? 

Twenty-four. 

How  many  thirty-seconds? 

Forty-eight, 

How  many  quarters  in  a  dotted  half  note? 

Three. 

(18) 


CHAPTER  IV. — DOTTED  NOTES,        19 

How  many  eighths  ? 

Six. 

How  many  sixteenths? 

Twelve. 

A  dotted  half 

is  equal  to  3   1 

M    M    M 

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or  6   1 


or  12 


How  many  eighths  in  a  dotted  quarter? 

Three. 


How  many  sixteenths? 

Six. 


A  dotted  quarter 


is  equal  to  3 


or  6 


f 

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f  P  f  f  ff 


How  many  sixteenths  in  a  dotted  eighth? 

Three. 

How  many  thirty  seconds? 

Six. 


20  CHAPTER    IV. — DOTTED   NOTES. 

A  dotted  eighth    I , 

is  equal  to  3    ^ mm J  J. 


How  many  thirty-seconds  in  a  dotted  sixteenth? 

Three. 

How  many  sixty-fourths? 

Six. 

ON    THE    DOUBLE    DOT. 
What  is  the  effect  of  the  Double  dot? 

The  second  dot  equals  one  half  of  the  first 
dot,  consequently  the  two  dots  lengthen  the  note 
three- fourths  of  its  own  value. 

What  is  a  half,  double  dotted,  equal  to  ? 

A  half,  a  quarter,  and  an  eighth. 

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equal  to 


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What  is  a  quarter,  double  dotted,  equal  to? 

A  quarter,  an  eighth,  and  a  sixteenth. 


equal  to 


CHAPTER  V. 


ON    RESTS. 


What  are  rests? 

Signs  denoting  silence,  corresponding  in  value 
with  the  various  notes. 

How  is  a  whole  rest  made? 

A  stroke  below  the  line.  -** 

How  is  a  half  rest  made  ? 

A  stroke  above  the  line.  -«. 

How  is  a  quarter  rest  made? 

A  hook  turned  to  the  right.    \ 

How  is  an  eighth  rest  made? 

A  hock  turned  to  the  left. 


J 


How  is  a  sixteenth  rest  made? 


Two  hooks  turned  to  the  left.  JJ 

How  is  a  thirty -second  rest  made? 

Three  hooks  turned  to  the  left.  M 

How  is  a  sixty-fourth  rest  made? 


Four  hooks  turned  to  the  left. 


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Whole      Half        Quarter       Eighth    teenih  second    fourth 
rest         rest.  rests.  rest.        rest.       rest        rest. 


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Notice  the  several  forms  of  the  quarter  rest  now  in  general 

(«) 


22    CHAPTER  VI. — SHARP,  FLAT,  NATURAL. 


When  the  duration  of  a  rest  is  prolonged,  how  is  it  expressed? 

By  placing  a  dot  after  it. 

Whole  rest.  Equal  to  Half  rest.  Equal  to 


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Quarter  Eighth 

rest.       Equal  to         rest. 


Sixteenth 
Equal  to       rest.       Equal  to 


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CHAPTER  VI. 


ON  THE  SHARP,  THE  FLAT,  AND  THE  NATURAL. 


What  is  the  effect  of  a  Sharp  (#)? 

It  raises  the  pitch  of  the  note  before  which  it 
stands  a  half  tone,  and  it  is  played  on  the  next  key 
to  the  right,  whether  black  or  white. 


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CHAPTER  VI.— SHARP,  FLAT,  NATURAL.    23 


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What  is  the  effect  of  a  Flat  (k)  ? 

It  lowers  the  pitch  of  the  note  before  which  it 
stands  a  half  tone,  and  is  played  on  the  next  key 
to  the  left,  whether  black  or  white. 


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What  is  the  effect  of  a  Natural  (fl)? 

It  contradicts  either  the  Sharp  or  Flat,  and 
brings  the  note  back  to  its  original  pitch. 


24        CHAPTER  VI. — SHARP,    FLAT,    NATURAL. 


F  Sharp.  F  Natural.         B.         B  Flat.  B  Natuial 


Is  the  Sharp  or  Flat  marked  to  every  note  of  a  musical 
composition? 

No ;  the  Sharps  and  Flats  necessary  to  the 
key  are  marked  after  the  Clef,  and  are  called  the 
signature;  they  have  effect  throughout  the  piece 
unless  canceled  by  a  Natural. 

How  do  we  find  the  Sharps  in  their  regular  order? 

By  counting  a  fifth  {seven  semitones)  above, 
for  each  additional  Sharp,  always  counting  the  last 
Sharp  as  one. 

On  what  letter  is  the  first  Sharp  placed? 

OnF. 

r 

The  second  Sharp  ? 

On  C,  a  fifth  above  F. 

First  Sharp.  Second  Sharp. 


# 


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2  3  4 

On  what  letter  is  the  third  Sharp  placed? 

On  G,  a  fifth  above  C. 


1 


CHAPTER  VI. — SHARP,  FLAT,  NATURAL.    25 

Second  Sharp.  Third  Sharp. 


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1  2  3  4  5 

On  what  letters  are  the  remaining  Sharps? 

The  fourth  Sharp  is  on  D,  the  fifth  on  A,  the 
sixth  on  E,  and  the  seventh  on  B. 

What  are  the  seven  Sharps  when  placed  according  to  their 
order? 

The  seven  Sharps  are  F,  C,  G,  D,  A,  E,  and  B. 

— ft S— tt 


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12  3  4  5  6  7 

By  what  method  can  we  find  the  Flats  in  their  regular  order? 

By  counting  a  fourth  {five  semitones)  above 
for  each  additional  Flat,  counting  the  last  Flat  as 
one. 

On  what  letter  is  the  first  Flat  placed? 

On  B. 

The  second  Flat. 

On  E,  a  fourth  above  B. 

First  Flat.  Second  Flat, 

m       \ff9Z 


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z6       CHAPTER  VI. — SHARP,  FLAT,  NATURAL. 


On  what  letttr  is  the  third  Flat  placed? 

On  A,  a  fourth  above  E. 

Second  Flat.  Third  Flat. 


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Where  are  the  remaining  Flats  found? 

The  fourth  Flat  is  on  D,  the  fifth  on  G,  the 
sixth  on  C,  and  the  seventh  on  F. 

What  is  the  order  of  the  seven  Flats? 

The  seven  Flats  are  B,  E,  A,  D,  G,  C,  and  F. 


i 


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Is  that  order  always  preserved  in  the  signature? 

Yes  ;  the  second  Flat  or  Sharp  is  never  placed 
rffter  the  Clef  unless  preceded  by  the  first,  nor  the 
third  without  the  first  and  second. 


CHAPTER  VII. 


ON  THE  DOUBLE  SHARP  AND  DOUBLE  FLAT. 


What  is  the  effect  of  Double  Sharp  (•§•)? 

It  raises  the  pitch  of  a  note  two  semitones. 

Where  is  the  note  played? 

A  note  with  a  Double  Sharp  is  played  two 
keys  {one  tone)  higher  ;  therefore  F  Double  Sharp 
is  played  on  G. 


F  Natural. 


F  Sharp. 


F  Double  Sharp. 


How  is  a  Double  Sharp  contradicted? 

By  a  Natural  followed  by  a  Sharp  (bft)  ;  or,  by 
placing  a  single  Sharp  before  the  note.  The  latter 
plan  is  the  most  usual. 


m 


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F  Sharp.         F  Double  Sharp.        F  Single  Sharp. 
What  is  the  effect  of  a  Double  Flat  (fife)? 

It  lowers  the  pitch  of  a  note  two  semitones. 

(27) 


28 


CHAPTER   VIII. — FORMATION    OF   SCALE. 


Where  is  B  Double  Flat  played? 

On  A,  two  keys  {one  tone)  lower. 


Same  as  A. 


w< 


i 


B  Natural. 


B  Flat. 


B  Double  Flat. 


How  is  a  Double  Flat  contradicted? 

By  a  Natural  followed  by  a  Flat  (Jjb)  ;   or,  by  a 
single  Flat  before  the  note. 


1 


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B  Flat.  B  Double  Flat.  B  Single  Fiat. 

Are  the  Double  Sharps  and  Double  Flats  often  used? 

No,  and  are  used  as  accidentals  only. 

A  Double  Sharp  or  Flat  is  used  only  before  a  note  that  is 
already  Sharp  or  Flat. 


CHAPTER  VIII. 


ON   THE    FORMATION    OF   THE    SCALE. 


What  is  the  meaning  of  the  word  Scale  ? 

A  regular  succession  of  eight  tones  upward  or 
downward.     From  the  Italian  word  Scala,  a  ladder. 


CHAPTER   VIII. — FORMATION   OF   SCALE. 


29 


"N 


How  many  kinds  of  Scales  are  there  in  music? 

Two  ;  the  Diatonic  and  Chromatic, 

What  does  the  Diatonic  Scale  consist  of? 

It  consists  of  five  tones  and  two  half  tones. 

What  is  a  half  tone? 

The  half,  or  semitone  is  the  smallest  interval 
used  in  modern  music.  On  the  Piano-Forte  there 
is  a  half  tone  from  any  key  to  the  next.  From  E 
to  F  and  B  to  C  are  half  tones. 

What  is  a  tone? 

An  interval  containing  two  half  tones. 

How  are  the  tones  and  half  tones  arranged  in  the  Major 
Scale? 

The  Major  Scale  proceeds  by  two  successive 
tones,  followed  by  a  half  tone,  then  by  three  suc- 
cessive tones,  followed  by  a  half  tone  ;  for  instance, 
the  Scale  of  C  Major  proceeds  thus  ;  from  C  to  D 
is  a  tone,  D  to  E  a  tone,  E  to  F  is  a  half  tone,  F  to 
G  a  tone,  G  to  A  a  tone,  A  to  B  a  tone,  B  to  C  a 
half  tone. 


2 


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8 


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&  Half  Half 

Tone.  Tone.    tone.  Tone.  Tone.  Tone.  tone. 


$Q        CHAPTER   VIII. — FORMATION   OF   SCALE. 


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Where  do  the  half  tones  occur  in  the  foregoing  Scale? 

Between  the  3d  and  4th,  and  7th  and  8th 
degrees. 

Is  the  descending  Major  Scale  the  same  as  the  ascending 
Scale? 

Yes. 

Where  do  the  half  tones  occur  in  the  Minor  Scale? 

Between  the  2d  and  3d,  and  5th  and  6th 
degrees  ;  but  this  form  is  not  used  in  the  ascend- 
ing Scale  because  the  rules  of  Harmony  require 
the  seventh  to  be  raised  a  semitone.* 

How  many  Minor  Scales  are  there? 

Two ;  Harmonic  and  Melodic.  The  Har- 
monic Scale  has  its  seventh  sound  sharped  ascend- 
ing and  descending. 

Harmonic  Minor. 


12     3     4     5     6 


7     8,,7     6     5     4     3     2 


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*  Every  Major  Scale  has  a  relative  Minor  Scale  which  is 
founded  on  the  note  a  Minor  Third  (three  half  tones)  below.  The 
relative  Minor  of  C  Major  is  A. 


CHAPTER   VIII. — FORMATION    OF   SCALE. 


31 


The  Melodic  has  the  sixth  and  seventh  of  the 
Scale  made  Sharp   ascending,    and  Natural  do 
scending. 

Melodic  Minor. 
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ON    THE    CHROMATIC    SCALE. 

How  is  the  Chromatic  Scale  formed? 

It  consists   of  twelve   successive  half  tones, 
thus  :  C,  C|,  D,  D#,  E,  F,  F#,  G,  G|,  A,  A#,  B,  C. 


^ 


— 


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Can  the  Chromatic  Scale  proceed  by  Flats? 

Yes  ;  generally  in  descending,  thus  :  C,  B,  Bb# 
A,  Ab,  G,  G?,  F,  E,  £?,  D,  Db,  C. 


+V*-9^W 


CHAPTER  IX. 


ON   THE   KEYS   AND   MODES. 


What  is  the  meaning  of  the  word  Key? 

It  is  a  family  of  the  seven  tones  that  bear 
certain  relation  to  each  other,  and  may  be  used  in 
any  possible  order,  while  the  Scale  has  the  regular 
order  of  these  tones  ascending  or  descending. 

How  many  Keys  are  there  in  Music? 

Two  ;   Major  and  Minor. 

How  do  you  know  a  Major  Key  from  a  Minor? 

The  Major  Key  has  a  Major  Third,  the  Minor 
Key  a  Minor  Third. 

What  is  a  Major  Third? 

When  from  the  Tonic  to  the  Third  above  are 
four  half  tones  (on  the  Piano-forte  five  keys),  the 
Third  is  Major,  and  the  Key  is  called  a  Major  Key. 

Half  tones.  Major  Thin*. 


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CHAPTER   IX. — KEYS   AND   MODES.  33 

What  is  a  Minor  Third? 

When  from  the  Tonic  to  the  Third  above  there 
are  but  three  half  tones  (on  the  Piano-forte  four 
keys),  the  Third  is  Minor,  and  the  Key  a  Mino? 
Key. 

Minor  Third. 


Are  there  always  two  Keys,  whether  you  have  one,  two, 

three  or  more  Sharps  and  Flats  at  the  signature? 

0 

Yes  ;  any  Key  whatever  must  be  either  in  the 
Major  Mode,  and  formed  according  to  the  natural 
Key  of  C  Major,  or  in  the  Minor  Mode,  and  then 
formed  like  the  natural  Key  of  A  Minor. 

What  is  the  rule  respecting  the  situation  of  the  Major  and 
Minor  Keys? 

When  Sharps  are  after  the  Clef,  the  Tonic  of 
the  Major  Key  is  a  half  tone  above  the  last  Sharp, 
and  the  Tonic  of  the  Minor  Key  is  a  tone  below 
the  last  Sharp. 

Bj  this  rule,  what  are  the  Keys  with  one  Sharp  ? 

The  Keys  of  G  Major  a  half  tone  above  tne 
*s  and  E  Minor,  a  tone  below  FJf. 


34 


CHAPTER    IX. — KEYS   AND   MODES. 


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What  are  the  Keys  with  two  Sharps? 

The  Keys  of  D  Major  and  B  Minor. 


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What  are  the  Keys  with  three  Sharps? 

0 

The  Keys  of  A  Major  and  FJf  Minor. 


What  are  the  Keys  with  four  Sharps? 

E  Major  and  Cfl  Minor. 


£fe 


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What  are  the  Keys  with  five  Sharps? 

The  Keys  B  Major  and  G$  Minor. 


CHAPTER    IX. — KEYS   AMD    MODES. 


35 


What  are  the  Keys  with  six  Sharps? 

The  Keys  of  F$  Major  and  D$  Minor. 

What  are  the  Keys  with  seven  Sharps? 

C$  Major  and  AC  Minor. 

ON    THE    KEYS    WITH   FLATS   AT    THE    SIGNATURE. 

How  are  the  Keys  with  Flats  situated? 

The  last  Flat  is  aiways  on  four  of  the  Major 
Scale,  so  the  Tonic  is  a  Fourth  below  the  last  Flat ; 
the  Tonic  of  the  Minor  Key  is  a  Third  above  the 
last  Flat. 

By  this  rule,  what  are  the  Keys  with  one  Flat? 

Bb,  being  four  of  the  Scale,  F  would  be  one 
of  F  Major  ;  D,  being  a  Third  above  the  Bb,  would 
be  D  Minor. 


What  are  the  Keys  with  two  Flats? 

The  last  Flat  being  Eb,  a  Fourth  below  is  Bb  ; 
Bb  Major ;  G  is  a  Third  above,  would  be  G 
Minor. 


9—&-V 


36  CHAPTER    IX. — KEYS   AND   MODKfc. 

What  are  the  Keys  with  three  Flats? 

Eb  Major  and  C  Minor. 

What  are  the  Keys  with  four  Flats? 

Ab  Major  and  F  Minor. 

With  five  Flats  ? 

Db  Major  and  Bb  Minor. 

With  six  Flats? 

Gb  Major  and  Eb  Minor. 

With  seven  Flats? 

Cb  Major  and  Ab  Minor. 

How  many  Keys  are  there? 

Fifteen  Major  and  fifteen  Minor  Keys. 

What  are  the  Major  Keys? 

C,  no  Sharp  or  Flat;  G,  one  Sharp  ;  D,  two 
Sharps  ;  A,  three  Sharps  ;  E,  four  Sharps  ;  B,  five 
Sharps  ;    Fiji,  six  Sharps  ;   Ctt,  seven  Sharps. 


IS 


fgg^fefjsjgj 


CHAPTER  IX. — KEYS   AND   MODES.  37 

F,  one  Flat ;  B?,  two  Flats  ;  E?,  three  Flats  ; 
A?,  four  Flats  ;  D!>  five  Flats  ;  Gt>,  six  Flats  ;  O, 
seven  Flats. 

F  Bb  El>  A? 


?— — - 


^=2 


D?  Gi>  O 


MINOR    KEYS   WITH   SHARPS   AND   FLATS. 

A  E  B  ,    Fjt         ,       Cti 


fTJ ■   _^ ^^5 ^^ ■   ^i ^^^S ^ ■ 


D  G  C 


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Bb  Ei>  Ab 

-k-4- 


CHAPTER  X. 


ON   TIME. 


What  are  Bars  ? 

Upright  lines  drawn  across  the  Staff  to  divide 
the  music  into  equal  proportions. 

What  are  these  proportions  called 

Measures. 


What  is  Time? 

The  duration  of  sounds  in  general. 

How  many  kinds  of  Time  are  there? 

Two  principal,  viz. :    Common  and  Triple0 

How  are  these  two  species  sub-divided? 

Into  Simple  and  Compound. 

How  is  simple  Common  Time  expressed? 

Byg<r^;   also  by  ^. 

What  must  a  measure  of  Common  Time  marked  \~  contain? 

Four  quarters,  or  the  length  of  a  whole  note 

in  other  notes. 

(38) 


:hapter  x. — TIME. 


39 


^ 


^- 


What   does    a  measure   of  the   species  of  Common  Time 


marked     .    contain? 

Two  quarters,  or  four  eighths,  or  the  length  of 
a  half  note  in  other  notes. 


SSEE 


S 


^e 


-»-*- 


What  is  the  meaning  of  the  figures   ^,  ? 

The  numerator  denotes  how  many,  the  de- 

nominator  what  kind  in  each  measure,  thus :    J 
shows  two  quarters,  or  their  value,  in  each  measure. 

What  is  cmpound  Common  Time? 

Two  simple  Triple  measures  joined  into  one. 

How  many  species  are  there? 

Two  principal,  viz.:    o  and    o  . 

n 

What  is  the  meaning  of  the  figures  ^j? 

That  every  measure  contains  six  eighths,  or 
their  value. 


4Q 


CHAPTER    X. — TIME. 


-N 


9 9~ 


! 


What  is  the  meaning  of     q   ? 

That  every  measure  contains  twelve  eighths, 
or  their  value. 


n-«< 


999 


999 


999 


•     ^m  • 


*"^ 


1 


There  are  also  ^  and   ^  ,  but  they  are  seldom 
used. 


TRIPLE   TIME   EXPLAINED. 
How  many  kinds  of  Triple  Time  are  there? 

Three,  viz.:  *>,    a  and 

Explain  each  species. 

The  numerator  shows  how  many,   and  the 
denominator  what  kind  in  each  measure. 


1 


2=^ 


^ 


-& 


9 


-&- 


\ 


-p-P 


9^-^—9 


&^ 


CHAPTER   XI.  — COUNTING,    BEATING  TIME.     41 


How  many  species  of  compound  Triple  Time  are  there? 

n        n 

Two  principal,  viz.:  g  and  J;  the  latter  is  not 
used  in  modern  music. 


What  is  the  meaning  of  *i? 

That  every  measure  contains  nine  eighths,  or 
their  value. 
i+ 


CHAPTER  XI. 


ON   COUNTING  AND   BEATING   TIME. 


how  is  the  Time  of  a  musical  composition  to  be  counted? 

In  various  ways,  according  to  the  number  of 
parts  contained  in  each  measure,  also  according 
to  the  speed  of  the  movement. 


42     CHAPTER    XI. — COUNTING,    BEATING    TIME. 


In  Common  Time,  5-7,  how  is  the  time  counted? 

The  quarter  being  the  measure  note,  four  are 
counted  in  each  measure. 


Moderate 


12    3    4 


12    3    4 


In  slow  movement,  it  is  better  to  sub-divide 
each  part  and  to  count  eight  eighths  in  each 
measure. 

Grave. 


— 1 — k[— ffi 1 — [— 1 


B 


12345678         12      1J*4    5678     12    34 


How  do  you  count  Common  Time  marked  Tf  ? 


Two  quarters  in  a  measure. 

Allegretto. 


4 


In  slow  movements  it  is  better  to  count  four 
eighths. 


CHAPTER   XI.  —  COUNTING,    BEATING   TIME.      43 


How  do  you  count  compound  Common  Time,  marked   q? 

n 

One  to  each  dotted  quarter  or  its  value.     Two 
counts  in  each  measure. 


In  slow  movement  it  is  better  to  count  six 
eighths. 

How  do  you  count  Triple  Time  marked 


Three  quarters  in  a  measure. 


4 


How  do  you  count  Triple  Time  marked 


Three  eighths  in  a  measure. 


h 


Ifcfet 


1    f     i    1     I 


1     23 

ON   BEATING   TIME. 
Is  it  necessary  to  beat  Time. 

It  is  better  to  count  it,  and  aloud  ;  singers,  and 
players  on  v/ind  instruments,  being  preventedfrom 
counting,  must  beat  the  time. 


44  CHAPTER    XII. — ITALIAN   WORDS. 

How  do  we  beat  Double  Time,  J7^,   ±i  or 

Down,  up. 

to       o 
>  B  or  S? 

Down,  right,  up. 

4 

Quadruple  Time,  -J  or  ££? 

Down,  left,  right,  up. 


CHAPTER  XII. 

ON   THE   ITALIAN   WORDS   DENOTING   THE   SPEED 
AND   THE   CHARACTER    OF   A   MOVEMENT. 


How    is    the   speed   of  a   movement   or   a   piece   of  music 
indicated? 

Chiefly  by  the  Italian  word  or  words  affixed  at 
the  beginning. 

What  are  these  words,  and  what  is  their  meaning? 

The  following  are  in  general  use ;  they  are 
classed  here  from  slow  to  quick. 

i.   Crave,  very  slow.        (X^t^C  [0^±      j^jftr^ 

2.  Adagio,  a  degree  faster.  ^W-^J0   /P     /TLv-/*" 

3.  Largo,  slow,  and  in  a  broad  style. 

4.  Larghetto,  a  degree  faster  than  largo. 


CHAPTER   XII.— ITALIAN   WORDS.  45 

5.  AndanlinOy  somewhat  slow  and  flowing. 

6.  Andante,  a  degree  faster  than  andantino. 

7.  Moderate,  moderate  time. 

8.  Allegretto,  not  so  quick  as  allegro. 

9.  Allegro,  lively,  quick. 

10.  Vivace,  with  spirit,  fast. 

11.  Presto,  very  quick. 

12.  Prestissimo,  as  quick  as  possible. 

What  is  the  meaning  of  the  following  words  :    Assai,  motto, 
yiu,  peco,  non  troppo  ? 

The  words,  when  joined  to  any  of  the  fore- 
going, serve  to  extend  or  modify  their  meaning  ;  as 
Adagio  non  troppo,  not  too  slow. 
Allegro  assai,  very  quick. 
Piu  presto,  quicker  than  presto. 
Poco  presto,  a  little  quick. 

How  is  the  character  of  a  piece  and  its  style  indicated  1 

Generally  by  Italian  words. 

What  words  are  mostly  used  ? 

Affetluso,  affectionate. 

Agitato,  agitated. 

/imoroso,  tenderly. 

Brillante,  brilliantly. 

Cantabile,  in  a  singing  style,  flowing. 

Con  brio,  with  spirit. 

Con  fuoco,  with  fire. 


46  CHAPTER   XIII. — GRACES. 

Con  gusto,  with  taste. 

Furioso,  with  great  spirit. 

Pastorale,  in  a  simple  and  tender  style. 

Sostenulo,  sustained. 

Scherzando,  playfully. 

Vigoroso,  with  force. 

Where  are  these  words  placed? 

After  the  Italian  word  denoting  the  speed  of 
the  movement,  thus  :  Andante  affetuoso,  Allegro 
agitato,  Allegro  con  brio,  Anda?itino  amoroso. 


CHAPTER  XIII. 

ON    GRACES    OR    EMBELLISHMENTS. 


What  are  the  principal  graces  made  use  of  in  musical  com- 
positions ? 

The  Appoggiatura,  the  Acciaccatura,  the  Furn 
and  the  Shake,  or  Trill. 

How  is  the  Appoggiatura  or  leaning  note  expressed? 

By  a  small  note  placed  before  the  large  one 
which  it  is  intended  to  ornament. 

How  many  kindsof  Appoggiatura  are  there? 

Two,  the  upper  and  the  lower. 

Explain  both. 

The  upper  Appoggiatura  may  be  a  tone  01  a 


CHAPTER   XIII. — GRACES. 


47 


half  tone  above  the  principal  note,  the  lower  is 
always  a  half  tone  below. 

What  is  the  length  of  the  Appoggiatura  ? 

It  borrows  half  the  value  of  the  principal  note 
which  it  precedes. 

Written. 

i  ft 


v- 


1 


-&- 


~&- 


-&- 


Played. 


How  is  the  Acciaccatura  expressed  and  performed? 

The  Acciaccatura  is  also  expressed  by  a  small 
note,  but  has  a  line  drawn  across  the  stem,  and  is 
played  very  short. 

Written. 

ft  V  ft  ft 


-<5>- 


* 


* 


W- 


±-6h 


i 


Played. 


48 


CHAPTER    XIII.  —  GRACES. 


How  is  the  Turn  expressed  and  performed? 

The  Turn  is  the  union  of  the  upper  and  lower 
grace-notes  ;  it  is  either  direct,  prepared,  or  in- 
verted. 

How  is  the  direct  Turn  performed  ? 

It  begins  with  the  note  above  the  principal, 
and  is  marked  S\J>. 

Written.  Played. 


. -^— 


1 


How  is  the  prepared  Turn  played? 

The  note  is  played  first,  and  then  the  turn. 

Played. 


How  is  the  inverted  Turn  played? 

The  inverted  Turn  begins  with  the  note  belov 
and  ends  on  the  principal  note. 

Written.  Played. 


CHAPTER   XIII. — GRACES. 


49 


When  a  Sharp.  Flat  or  Natural  is  placed  over  or  undei  a 
Turn,  what  does  it  indicate  ? 

When  placed  over  the  Turn  it  shows  that  the 
highest  note  is  to  be  played  sharp,  flat  or  natural, 
as  the  case  may  be  ;  and  if  under,  the  lower  note 
to  be  similarly  treated. 


Written 

I 


Played. 


fe 


J L 


m 


Played. 


How  is  the  Shake  or  Trill  marked  and  performed? 

The  Shake,  marked  (  fffX  an  abbreviation  of 

the  Italian  word  trillo,  is  a  quick  and  alternate 
repetition  of  two  notes,  the  principal  note  and  the 
note  above. 

How  many  kinds  of  Shakes  are  there? 

Three  ;   the  passing,  the  plain,  and  the  Shake 
with  a  turn. 


5o 


CHAPTER   XIII. — GRACES. 


How  are  these  performed  ? 


The  passing  Shake  is  very  short. 

Played. 

* A 


Written. 

tr       tr 


¥*=* 


?-#" 


.' 


m 


w 


The  plain  Shake  is  longer. 

Played. 


The  Shake  with  a  turn,   which  is  generally 
introduced  at  the  end  of  a  piece,  is  played  thus  : 

Written. 


tr 

i 


4=^- 


:St==1 


Played. 


#-#-##-#-f*-#A#-r1-## 


4 


u 


^-** 


CHAPTER  XIV. 


ON   EXPRESSION. 


What  are  the  i  rincipal  means  of  expression? 

Strict  attention  to  the  accents,  emphasis, 
syncopation,  and  a  close  observance  of  legato, 
staccato,  crescendo  and  diminuendo. 

I.    ON   ACCENTS. 
What  is  meant  by  accent  in  music? 

The  stress  given  to  one  note  in  preference  to 
another,  according  to  its  place  in  the  measure. 

Where  are  the  accents  placed  in  Common  Time? 

In  Common  Time,  of  four  quarters  in  a 
measure,  the  first  and  third  parts  are  accented, 
and  the  second  and  fourth  unaccented. 


T3 

T3 

*o 

-o 

•o 

T3 

"O 

•o 

13 

T3 

T3 

T3 

<U 

a 

u 

t> 

V 

U 

V 

t> 

0) 

U 

V 

o 

4-1 

4-J 

*-» 

— > 

w 

«J 

~ 

4-1 

4-1 

4-1 

4-> 

4-t 

c 

r* 

C 

c 

r< 

s 

c 

G 

c 

c 

c 

c 

V 

1) 

c 

V 

U 

I) 

<u 

V 

V 

u 

V 

4) 

o 

U 

(J 

(J 

o 

o 

CJ 

o 

u 

CJ 

o 

O 

u 

U 

u 

u 

o 

o 

o 

(J 

u 

u 

u 

() 

< 

< 

(3 

< 

ed 

s 

<J 

c 

<J 

c 

< 

E> 

£ 

S3 

P 

p 

p 

In  this  ordtr  alvva^  s  preserved? 

No  ;   in  slow  movements,  when  the  quarters 

(51) 


52 


CHAPTER    XIV. — EXPRESSION. 


are  divided  into  eighths,  the  accents  are  more 
frequent ;  they  fall  upon  the  first,  third,  fifth,  and 
seventh  eighths ;  the  second,  fourth,  sixth  and 
eighth  are  unaccented. 


How  are  the  accents  placed  in 


4 


The  first  quarter  is  accented \  the  other  un- 
accented. 


-&- 


\ 


v 


V 


-a 


c 

a 

c 

c 

G 

V 

V 

V 

<u 

u 

o 

o 

o 

o 

o 

u 

o 

<j 

o 

u 

< 

a 

< 

a 

13 

J3 

£ 

T3 
(U 

4-» 

o 
o 


How  are  the  accents  placed  in  compound  Common  Time; 
for  instance,  |jf? 

The  accent  falls  upon  #«£  and  four ;  when 
two  dotted  quarters  occur  in  a  measure,  the  first 
dotted  quarter  receives  the  heaviest  accent. 


■o 

T3 

H3 

T3 

T3 

T3 

*T3 

0) 

<u 

<u 

<U 

u 

(U 

D 

*■> 

4-1 

4-1 

*J 

■*-» 

w 

4-1 

G 

c 

G 

a 

c 

c 

c 

4) 

4> 

<U 

V 

V 

V 

<u 

O 

o 

o 

o 

u 

o 

(J 

O 

o 

u 

o 

o 

o 

o 

* 

"< 

< 

<J 

< 

«i 

CHAPTER    XIV. — EXPRESSION. 


53 


How  are  the  accents  placed  in  Triple  Time? 

One  of  the  measure  is  accented,  two  and  three 
unaccented. 


a 


¥■ 


*  0 


&1 


T3 

T3 

-o 

T3 

T3 

•a 

T5 

t3 

13 

T3 

41 

4> 

V 

u 

V 

V 

<u 

41 

41 

41 

4-> 

4-1 

4-» 

4J 

4-1 

4-1 

4-> 

4-i 

*>J 

4-> 

c 

c 

c 

c 

e 

c 

C 

= 

c 

c 

41 

11 

41 

11 

V 

u 

41 

V 

41 

41 

u 

o 

o 

<J 

o 

o 

O 

O 

O 

O 

o 

o 

o 

o 

CJ 

o 

u 

CJ 

o 

o 

< 

c 

e 

<J 

c 

a 

«i 

c 

<! 

p 

£ 

13 

£ 

£ 

£ 

In  a  slow  movement,  when  each  measure  con- 
sists of  six  eighths,  the  first,  third  and  fifth  eighths, 
are  accented ;  the  second,  fourth  and  sixth  are 
unaccented. 

Does  every  piece  of  music  always  begin  with  the  first  part 
of  the  measure? 

No  ;  for  the  sake  of  keeping  the  accents  in 
proper  places,  a  piece  frequently  begins  with  the 
last  part  of  the  measure  ;  then  the  last  measure 
must  be  short  that  part.     See  example  on  page  51. 

2.    ON   EMPHASIS. 
What  is  meant  by  emphasis? 

Emphasis  is  a  deviation  from  the  rules  given 
concerning  the  accents  ;  it  takes  place  when  a  note 
which  should  not  be  accented  has  a  stress  given 
to  it ;  for  instance,  in  Common  Time,  the  second 
aud    fourth    parts    of   the    bar    are    unaccented. 


54 


CHAPTER   XIV.  — EXPRESSION. 


Should  a  stress  be  laid  on  one  of  these  parts,  it 
will  be  termed  an  emphasis. 

How  is  the  emphasis  marked  ? 

By  a  small  angle  — <  under  or  over  the  note  ; 
also  by  the  words  sforzando,  sforzato,  or  their 
abbreviations,  sforz.,  sf.,  rf.,  fz.y  rfz.y  or  even  ft 
over  a  single  note. 


3.    ON   SYNCOPATION. 

What  is  the  meaning  of  the  word  Syncopation  ? 

Syncopation  takes  place  when  the  unaccented 
part  of  a  measure  is  joined  with  the  next  accented 
part.     This  occurs — 

1.  When  long  notes  are  placed  between  two 
others  of  shorter  duration,  as  a  half  between  two 
quarters,  or  three  quarters  between  two  eighths. 


or 


# #— | 


& 


a— 0 — # 


2.  When  two   notes   are   connected  by  a  tie 
or  bind,   either  in  the  middle  of  a  measure  or 


CHAPTER   XIV. — EXPRESSION. 


55 


from  the  last  note  of  a  measure  to  the  first  of  the 
next. 


IZf 


II 


When  Syncopation  takes  place,  how  can  the  Piano-Forte 
player  keep  time*? 

The  Treble  and  Bass  seldom  syncopate  to- 
gether ;  one  part  generally  marks  the  time  by 
equal  notes. 

ON  THE  LEGATO  AND  STACCATO. 

What  is  the  meaning  of  the  word  legato? 

This  Italian  word  signifies  a  smooth  and  con- 
nected style  of  playing ;  blending  the  sound  of 
one  note  with  that  of  the  next. 

How  is  this  effected  ? 

By  keeping  each  key  down  until  the  next  is 
struck. 

How  is  legato  expressed  ? 

By  the  curved  lines  over  the  notes,  which  „  re 
called  slurs. 


56  CHAPTER    XIV. — EXPRESSION. 

What  do  small  dashes  placed  over  notes  signify  ? 

That  the  notes  are  to  be  played  short  and 
distinct,  lifting  the  finger  from  the  key  when  one- 
f  airth  of  the  length  of  the  note  has  expired. 

Written.  Played. 


g-JM^M^iN^fap^ 


v 


How  is  this  style  of  playing  denominated? 

It  is  called  Staccato^  and  produces  a  fine  effect 
when  properly  contrasted  with  the  legato  style. 

When  dots  are  placed  over  the  notes,  how  are  they  to  be 
placed? 

Not  so  short  as  the  dashes ;  the  finger  is  lifted 
when  one-half  of  the  length  of  the  note  has  ex- 
pired. 

Written.  Played. 


What  is  meant  when  a  Slu     is  placed  over  a  succession  of 
dots? 

That  the  finger  is  lifted  when  three-quarters 
of  the  length  of  the  note  has  expired. 


CHAPTER   XIV. — EXPRESSION.  57 

Written.  Played. 


— ■     •      I    TT  ^       V     1 


5.    ON    THE   MODIFICATION    OF   THE   SOUNDS. 

What  is  the  meaning  of  the  word  piano,  abbreviated  pii. 
ox  p.? 

To  be  played  in  a  soft  and  delicate  manner. 


What  is  the  meaning  of  mezzo-piano,  abbreviated  7nJ>.? 

A   degree   greater  than  piano  and  less  than 
forte. 

Whac  is  the  meaning  of  pianissimo,  abbreviated  pp.? 

The  utmost  degree  of  softness. 

What  is  the  meaning  of  forte,  abbreviated  for.  or  /.? 

To  be  played  with  energy  and  force — loud. 

What  signifies  mezzo-forte ,  abbreviated  mf.? 

Medium,  between  forte  and  piano. 

WThat  signifies  forth„*mo,  abbreviated^"./ 

The  greatest  degree  of  force  ;   avoiding,  how* 
ever,  any  roughness. 


58 


CHAPTER    XIV. — EXPRESSION. 


What  is  the  meaning  of  the  word  crescendo,  abbreviated 
cres.? 

A  gradual  increase  from  soft  to  loud,  marked 

What  is  meant  by  the  word  diminuendo ,  abbreviated  dim.? 

A  gradual  diminishing  from  loud  to  soft, 
marked  >=— . 

When  these  two  angles  are  opposite  each  other,  thus: 
— <C^    ~^^==~ >  what  does  it  mean? 

That  the  sounds  must  be  gradually  increased 
from  soft  to  loud,  and  afterwards  gradually  dim- 
inished from  loud  to  soft. 


What   is   the   meaning  of  the  word  tremando  written  over 
some  chords? 

That  the  chords  must  be  divided  into  two 
parts,  and  played  with  rapidity  as  a  shake. 

Tremando.         Written. 


a. 


zz 


& 


& 


3 


& 


J? 


sP 


\ 


CHAPTER    XIV. — EXPRESSION. 


59 


Played. 


What  is  the  meaning  of  the  word  arpeggio? 

That  the  chord  must  be  played  in  rapid  suc- 
cession from  the  lowest  note  to  the  highest,  instead 
of  striking  them  all  at  once.  This  is  usually 
expressed  by  a  waved  line  before  the  chord. 

Written. 


Played. 


^ziz 


What  is  the  meaning  of  the  word  pedal,  abbreviated  Fed.? 

That  the  damper  or  right-hand  pedal  must  be 
pressed  with  the  foot,  to  raise  the  dampers  and  let 
the  vibration  continue.  A  star  (2£)  is  usually 
placed  when  it  is  to  be  discontinued. 

In  what  passages  is  the  damper  p e da /introoi  ced? 

Chiefly  in  passages  in  which  the  same  Har- 
mony is  continued  ;  when  the  chords  are  changed, 
the  pedal  must  be  dropped. 


6o 


CHAPTER    XIV. — EXPRESSION. 


What  is  the  Bind  or  Tie? 

A  curved  line  placed  over  two  notes  on  the 
same  line  or  space  of  the  staff. 

What  is  the  effect  of  the  Tie  ? 

The  first  note  only  must  be  struck,  and  kept 
down  the  whole  length  of  the  two  notes. 


■8 

S      v 

in    H 


o 

3 
U 

4-1 

cn 


<L> 

H 


o 

3 
u     V 


o 

3 
— 


•  mm 

H 


m 


What  is  a  Pause? 

A  semicircle  with  a  dot,  ^\  and  signifies  that 
the  value  of  the  note  or  rest  over  which  it  is  placed, 
is  to  be  increased  about  twice  its  length.  When 
placed  over  a  double  bar,  it  indicates  the  close  of 
a  piece  of  music. 


CHAPTER  XV. 


ON    SOME    CHARACTERS    IN    COMMON    USE. 


What  is  the  use  of  single  lines  drawn  across  the  staff? 

These  small  lines  are  called  bars  and  serve  to 
divide  a  piece  of  music  into  equal  portions,  called 


measu  "es. 


ist  strain. 


2d  strain. 


I! 


II 


W>  at  is  the  use  of  the  Double  Bar? 

ty  serves  to  divide  a  piece  cf  music  into  two, 
throe  or  more  parts,  called  strains.  When  dots 
are  placed  on  both  sides  of  the  double  bar,  both 
parts  are  to  be  repeated  ;  when  the  dots  are  only 
on  one  side  of  the  double  bar,  the  part  on  the 
same  side  as  the  dots  is  to  be  repeated. 

W^at  is  the  use  of  the  Brace,      \  ? 

It  serves  in  Piano-Forte  music  to  connect  the 
tv.  u  staffs,  the  upper  of  which  is  for  the  right  hand, 
and  the  lower  for  the  left. 

What  is  the  meaning  of  the  words  Da  Capo,  abbreviated 
D.  Cf 

They  signify  that  the  performer  must  play  over 
again  part  of  a  piece  from  the  beginning. 

(61) 


62 


CHAPTER   XV. — CHARACTERS. 


What  is  the  meaning  of  the  words  Dal  Segno? 

These  words  refer  to  a  preceding  mark  of 
repeat,  and  indicate  that  the  part  of  the  piece  must 

be  repeated  from  the  sign,  S^,  to  Fine. 


What  is  the  use  of  the  figures  i  and  2  placed  over  some  notes 
-\X  a  Double  Bar? 

They  signify  that  a  part  of  the  piece  must  be 
played  twice  ;  and  that  in  playing  it  the  second 
Mme,  the  performer  must  omit  the  bar  marked  i, 
and  instead  of  it  play  the  bar  marked  2. 


What  is  the  meaning  of  the  word  ottava,  generally  abbre- 
viated 8va,  followed  by  dots? 

That  the  notes  over  or  under  which  it  is  placed 
are  to  be  played  respectively  an  octave  higher  or 
lower. 


Writt-n. 


8va 


^k-Z- 


CHAPTER   XV. — CHARACTERS. 


6j 


* 


Written. 


i 


g^g^g 


-f- 


Sva 


R: 

Played. 

J 

J 

1- 

H 

1 1 p- 

"   J 

-#- 

-V- 

J. 

1 1 r- 

■^    -4    -+ 

— f 

— ^-J 

What  is  the  meaning  of  the  word  /<?^.^ 

It  is  generally  used  after  the  word  ottava,  and 
signifies  that  the  music  must  be  played  as  written. 

What  do  the  letters  R.  H.  or  M.  D.  under  some  notes  in  the 
Bass  signify? 

That  they  are  to  be  played  with  the  right  hand, 
main  droit,  crossing  over  the  left. 

What  do  the  letters  L.  H.  or  M.  G.  over  some  notes  in  the 
Treble  signify? 

That  they  are  to  be  played  with  the  left  hand 
main  gauche ',  crossing  over  the  right. 

What  is  the  meaning  of  V.  S.  {Volti  Subito),  placed  at  the 
bot-**)m  of  the  page? 

The  performer  must  turn  the  page  quickly. 
(Generally  found  in  old  publications  and  manu- 
script copies.) 


CHAPTER  XVI. 


ON    ABBREVIATIONS   AND    LICENSES. 


What  is  the  meaning  of  a  dash  over  or  under  a  whole  note 
o    through  the  stem  of  a  half  or  a  quarter? 

That  the  notes  are  to  be  divided  into  eighths. 

Written. 


^ 


^ 


-&- 


^m 


Played. 


0-0-0-0-0-\ 


What  is  the  meaning  of  a  double  stroke  through  the  stem  o( 
a  half  era  quarter  note  ? 

That  the  half  or  quarter  is  to  be  divided  into 
sixteenths. 


# 


f— h  , 
"000  00 


& 


What  is  the  meaning  of  a  dash  after  a  group  of  notes  ? 

That  the  preceding  group  is  to  be  repeated. 


CHAPTER  XVI. — ABBREVIATIONS. 


65 


Written. 


Played. 


1 


1 


m 


Segue  after  a  group  of  notes  has  the  same 
meaning. 

ON   SOME   LICENSES. 

What  is  the  meaning  of  the  figure  3  placed  over  or  undei 
three  quarters,  eighths  or  sixteenths. 

It  shows  that  three  quarters,  eighths,  or  six- 
teenths, must  be  played  in  the  time  of  two  ;  each 
group  is  called  a  triplet. 


9^ 


Ej 


t 


What  is  the  meaning  of  the  figure  6  placed  over  or  undei 
six  eighths  or  sixteenths  ? 

It  signifies  that  the  six  eighths  or  sixteenths 
must  be  played  in  the  time  of  four  of  the  same 
soecies. 


66 


CHAPTER   XVII. — POSITION. 


Is  the  same  rule  observed  with  respect  to  other  figures,  as  5, 
7,  9»  ctc? 

Yes  ;  five  eighths  are  played  in  the  same  time 
as  four,  seven  as  six,  and  nine  as  eight  of  the  same 
species. 

The  figures  3  and  6  are  sometimes  onvtted ;  then  the  manner 
of  grouping  the  notes  indicates  the  mode  of  playing  them. 


CHAPTER  XVII. 


ON   THE   POSITION   OF  THE   BODY,    ARMS  AND 
HANDS  AT  THE  PIANO-FORTE. 


What  is  the  proper  position  of  the  body  and  arms  at  the 
.  Piano-Forte? 

The  performer's  attitude,  being  seated  opposite 
the  centre  of  the  key-board,  must  be  erect,  with- 
out the  appearance  of  constraint ;  the  arms  from 
the  elbows  upwards  must  be  a  little  advanced,  and 
close  to  the  body,  except  when  the  right  bind  r^avs 


CHAPTER    XVIII. — FINGERING.  67 

on  the  upper  part,  or  the  left  on  the  lower  part  of 
the  instrument ;  in  which  case  the  arms  are  neces- 
sarily a  little  extended;  the  shoulders  must  never 
be  raised;  the  seat  of  the  performer  must  be  so 
adjusted  as  not  to  require  their  elevation. 

What  is  the  proper  position  of  the  hands  and  fingers  on  the 
key -board? 

The  hands  must  be  a  little  above  the  keys,  the 
wrist  turned  slightly  inward,  so  as  to  prevent  the 
thumb  from  being  withdrawn  from  the  keys.  The 
fingers  must  be  bent,  and  each  finger  must  be  over 
the  centre  of  its  respective  key.  In  striking  a  key 
with  a  finger,  the  others  must  not  move,  and  the 
finger  which  has  struck  a  key  must  be  kept  down 
until  the  next  key  is  struck,  when  it  must  be  raised. 
When  rests  occur,  the  fingers  must  be  raised  from 
the  keys. 


CHAPTER  XVIII 

ON    FINGERING. 


What  is  understood  by  fingering  ? 

The  proper  disposition  of  the  fingers  during 
performance.  The  hands  should  be  kept  as  much 
as  possible  over  the  five  keys,  so  that  each  finger 
may  cover  its  respective  key,  and  the  motion  of 
the  hands  be  scarcely  perceived. 


68  CHAPTER    XVIII.— FINGERING. 


How  is  the  fingering  expressed? 

The  thumb  is  marked  by  a  cross,  X;  the 
fingers,  i,  2,  3  and  4.  In  Europe  1,  2,  3,  4,  5  are 
used  and  the  X  omitted. 

When  a  Diatonic  succession  extends  beyond  five  note*,  how 

is  it  played  ? 

By  passing  the  thumb  under  the  long  fingers 
in  ascending,  and  these  over  the  thumb  in  de- 
scending. 

Under  which  finger  is  the  thumb  to  be  passed  in  ascending? 

In  ascending,  the  thumb  of  the  right  hand 
may  pass  under  the  first,  second  or  third  finger, 
seldom  under  the  fourth  finger. 

Note. — The  foreign  fingering  is  placed  over  the  notes:  the 
A.meric.in  (so  called)  fingering  is  below  the  notes. 


CHAPTER   XVIII. — FINGERING. 


69 


In  descending,  the  first,  second  or  third  finger 
nay  be  passed  over  the  thumb,  the  little  finger 
but  seldom. 

5 

•£■■#-     ^12    1 


XIX 


1    3 


X    2 


3    2 


Is  ft  allowed  to  pass  one  of  the  fingers  over  another? 

No ;    for  besides  being  awkward,   it  would 
prevent  the  sounds  blending  into  each  other. 

Is  it  allowed  to  play  two  or  three  consecutive  notes  with  the 
same  finger? 

No  ;  unless  a  rest  intervenes,  every  note  should 
be  played  with  a  different  finger. 

Which  are  the  principal  means  of  facilitating  the  execution 
of  rapid  passages? 

First,    by    changing   fingers   when   a   note   is 
repeated. 


7o 


CHAPTER   XVIII.  — FINGERING. 


13                                                                          O 

3    2         ^            1    3       1    3 

-f — - 



21X        21X        21X 

Secondly,  by  making  use  of  contractions. 


Thirdly,  by  extensions. 


CHAPTER   XVIII. — FINGERING. 


7i 


4X214 


Which  is  the  proper  fingering  of  the  scales? 

In  the  Key  of  C,  and  in  keys  with  Sharps  at 
the  signature,  viz.:  G,  D,  A,  E  and  B  (Major  and 
Minor),  the  thumb  of  the  right  hand  plays  the  first 
and  fourth  degrees  of  the  scale,  ascending  and 
descending. 


i 


1       2       X 


e 


$   ft               „    .    m-^-f- 

#— ±*-f  F— ' — 

-H 

The  Key  of  F$  is  an  exception  to  this  rule. 


?2 


CHAPTER    XVIII. — FINGERING. 


What  is  the  fingering  of  the  Keys  with  Flats  at  the  signature? 

In  the  Major  Keys  of  F,  Bb,  Eb,  Ab,  and  Db, 
the  thumb  of  the  right  hand  is  placed  on  F  and  C, 
ascending  and  descending. 

How  are  the  scales  fingered  with  the  left  hand? 

In  C  and  the  Keys  with  Sharps,  the  thumb 
must  be  placed  on  the  fifth  and  eighth  degrees  of 
the  scale. 


9i 


1 


0—^ 


0—* 


\ 


X 


X 


m 


5 


*— + 


w—o 


O  JL 

X       2  X 


The  Key  of  B  and  Fn  Major  form  exceptions 
to  this  rule ;  in  B  Major  the  thumb  falls  on  the 
fourth  and  eighth  of  the  scale,  in  Ftt  Major  on  the 
fourth  and  seventh  of  the  scale. 


B  Major. 


g$# 


X       3 


1 


\ 


CHAPTER    XVIII. — FINGERING. 


73 


FJ  Major. 
4       3       2       1 


9*%? 


-ff" 


Bj? 


+r— # 


x 


#- * 


X 


m 


How  are  the  scales  with  Flats  fingered  with  the  left  hand? 

In  Major  Keys  with  Flats,  as  Bb,  Eb,  Ab  and 
Db,  the  thumb  of  the  left  hand  falls  on  the  third 
and  seventh  of  the  scale. 


Bk  Maj 


or. 


*ii 


3*3 


£ 


-0— F 


X 


X 


The  scale  of  F  (Major  and  Minor)  is  an  excep- 
tion to  this  rale ;  the  thumb  falls  on  the  fifth  and 

eighth  degree  of  the  scale. 

3 
5  1,21 


m 


4- 


— i- 

1 


m 


x 


X 


74 


CHAPTER   XVIII. — FINGERING. 


How  are  the  Minor  scales  with  Flats  fingered  with  the  left 


hand? 


The  Minor  scales  of  Bb,  Eb,  Ab  and  Db  are 
not  fingered  as  the  Major  scales  of  the  same  name  ; 
the  thumb  of  the  left  hand  plays  C  and  F  ascend- 
ing and  descending. 


Bfe  Minor. 


iSEE 


¥4 


4 


£ 


B=* 


X       2 


X        3         2 


EfeM 


inor. 


2 


9!^ 


:iz:£ 


1X4  X        2         1 

Which  is  the  best  mode  of  fingering  the  Chromatic  scale? 

Second  finger  on  all  the  black  keys,  thumb  on 
all  the  white  keys,  except  C  and  F  right  hand  and 
B  and  E  left  hand,  which  are  played  by  the  first 
finger. 


3     1 


Right  hand. 
3     12       3     13 


1 


^  *#*1fr3  >™ 


0 


V 


X1T2    X  "2 


2    X      &    X    1 


CHAPTER   XIX. — TRANSPOSITION. 


Left  hand. 


75 


X      2     X      8     t     X      2XSX21X 

Practice  the  Scales  daily. 


CHAPTER  XIX. 


ON   TRANSPOSITION. 


What  is  meant  by  transposition  ? 

Putting  a  composition  into  another  key  ;  this 
may  be  done  in  various  ways  :  by  reading  the 
notes  as  if  written  higher  or  low ;  by  changing 
the  Clef,  which  changes  the  name  of  the  notes; 
and  by  changing  the  key  and  Clef  at  the  same 
time. 

Is  there  any  other  Clef  besides  those  already  explained? 

Yes  ;  a  third  Clef,  called  the  C  clef,  is  used  in 
vocal  music  and  in  orchestral  scores. 

On  what  line  of  the  Staff  is  it  placed? 

It  may  be  placed  upon  the  first,  second,  third 
or  fourth  line  of  the  Staff;  and  according  to  its 
situation,  indicates  a  different  part. 


76 


CHAPTER   XIX. — TRANSPOSITION. 


When  placed  on  the  first  line,  what  is  it  called? 

The  Canto  or  Soprano  Clef.     This  part  is  sung 
by  female  voices  of  high  compass. 


-     <s>     * — f-  "1 

1    1 

a     m     P     ~                         1 

XX 

J     a     •     m     i                                   1 

f 

j     0     *                   1                                   1 

CDEFGABCDE 

When  placed  on  the  second  line,  what  is  it  called  ? 

The  Mezzo-Soprano  Clef,  a  part  sung  by  female 
voices  of  low  compass  ;  this  Clef  is  not  used  in 
modern  music. 

When  placed  on  the  third  line,  what  is  the  C  Clef  called? 

The  Contralto  or  Counter-Tenor  Clef.  This 
part  is  sung  by  female  voices  of  very  low  pitch,  or 
by  male  voices  of  high  compass  ;  and  is  also  used 
for  viola,  or  Tenor  violin. 


^E 


T* 


-F-«-jt 


=5=3 


■4 
CDEFGAGFEDCBAGF 

When  placed  or.  the  fourth  line,  what  is  the  C  Clef  called? 

The  Tenor  Clef.     Thh  part  is  sung  by  male 


voices. 


CHAPTER   XIX. — TRANSPOSITION. 


77 


:M~0~* 


0  p  i — P—0- 


CDE  F  G  F  E  DC  BAGFEDC 


Are  the  names  of  the  notes  on  the  lines  and  spaces  the  same 
in  every  Clef? 

No  ;  when  the  position  of  the  Clef  is  changed, 
the  names  of  the  notes  are  also  changed,  as  may 
be  seen  in  the  foregoing  example. 

How  do  you  transpose  from  the  Soprano  Clef  to  the  Treble 
Clef? 

By  reading  and  playing  every  note  a  Third 
lower. 

Written. 


pE^E^H 


C     D     E     F     G     A 

Read  and  played. 


Hew  do  you  transpose  from  the  Contralto  to  the  Treble  QXtil 

By  reading  every  note  a  degree  higher,  and 
playing  the  notes  an  octave  lower. 


78 


CHAPTER   XIX. — TRANSPOSITION. 


1 


Written. 


^=jt 


T=W 


0—fi 


I 


C     D     E     F     G     A 


Read. 


-f 


1 


-*-— r- 


fp 


s— p 


Played. 


How  do  you  transpose  from  the  Tenor  to  the  Bass  ? 

By  reading  the  notes  four  degrees  lower,  and 
playing  them  an  octave  higher. 

Written. 


S 


^=W 


si 


C     D      E     F      E     D     C 


Played  an  octave  higher. 


W^A 


-m 


?=3=d 


i 


Read. 


.    . 


CHAPTER    XIX. — TRANSPOSITION. 


79 


How  do  you  transpose  from  one  key  to  another? 

By  adding,  after  the  Clef,  the  Sharps  or  Flats 
which  belong  to  the  new  key,  and  reading  the 
notes  according  to  the  new  Tonic. 

How  do  we  transpose  from  the  key  of  C  to  that  of  D,  a  tone 
higher  ? 

Having  placed  after  the  Clef  two  Sharps  (viz.: 
F  rnd  C),  we  read  or  play  every  note  a  degree 
higher. 

"  God  Save  the  Queen."— Key  of  C. 


Transposed  into  D. 


rr? 


M*-\ — i — 


v- 


How  do  we  transpose  from  the  Key  of  C  to  that  of  Bfe,  a 
tone  lower? 

Having  placed  after  the  Clef  two  Flats,  Bb  and 
Eb,  we  read  every  note  a  degree  lower. 

Transposed  into  Bl2  Major. 


0-0  ? 


i         r 


t± 


V 


y+ 


So  CHAPTER   XIX. — TRANSPOSITION. 

Should  any  accidental  Sharp,  Flat  or  Natural 
occur,  they  will  be  subject  to  the  same  changes  in 
the  new  key. 


The  student  who,  by  constant  application,  has 
fully  mastered  the  various  points  explained  in  this 
catechism,  should  not  rest  with  this  first  step,  but 
must  by  unremitted  attention,  endeavor  to  advance 
still  further  in  the  science.  Music  requires  much 
study  and  practice  before  great  proficiency  can  be 
attained;  and  " Those  who  think  they  have  done 
so  much  see  but  little  to  do.,, — Dr.  Johnson. 


ABBREVIATIONS 


Accel. 

Accelerando 

Mod. 

Moderato 

Ad  lib. 

Ad  libitum 

P. 

Piano 

A  temp. 

A  tempo 

Ped. 

Pedal 

Brill. 

Brillante 

P.  F. 

Piuforte 

Cresc. 

Crescendo 

PP. 

Pianissimo 

D.  C. 

Da  capo 

Rail. 

Rallentando 

Decres. 

Decrescendo 

Rf.,  rfz.,  orrinf. 

Rinforzando 

Dim. 

Diminuendo 

R.  H. 

Right  Hand 

Dol. 

Dolce 

Ritar 

Ritardando 

D.S. 

Dal  segno 

Riten 

Ritenuto 

Espres. 

Expressivo 

Scherz 

Scherzando 

F. 

Forte 

Semp. 

Sempre 

Ff. 

Fortissimo 

^{7 

Sforzando 

Forz. 

Forzando 

Sinf. 

Sinfonia 

Graz. 

Grazioso 

Stacc. 

Staccato 

Intro. 

Introduction 

String 

Stringendo 

Legg- 

Leggiero 

T.  C. 

Tre  corde 

L.  H. 

Left  Hand 

Tern. 

Tempo  primo 

Marc. 

Marcato 

len. 

Tenuto 

M.  S. 

Mano  sinistra 

L 

Tr. 

Trillo 

M.  D. 

Main  droite 

Trem. 

Tremolando 

Men. 

Meno 

U.  C. 

Una  corda 

M.  G. 

Main  gauche 

Var. 

Variation 

M.  M. 

Maelzel's  M 
nome 

2tro- 

V.  s. 

Volti  subito 

M.   M. 

1=92  The  beat  of  a 

quar- 

ter  note   is 

equal 

to  the  pulse 

ofth 

e 

pendulum  < 

Df  th 

e 

Metronome 

with 

• 

the  weight 

set  at 

92 

81 


DICTIONARY  OF  MUSICAL  TERMS. 


A,  at,  for,  with. 

Ad,  at,  to. 

A  Capriccio,      )    at  the  pleasure,  fancy  or  w.ll  of  the  performer, 
A  Piacere,  j  as  to  time  and  style. 

A  poco  piu  lento,  a  little  slower. 

A  poco  piu  mosso,  a  little  more  movement. 

A  Tempo,  in  time. 

A  Tempo  giusto,  in  strict  time. 

A  Tempo  primo,  in  the  original  time. 

Accellerando,  with  increasing  speed. 

Accentuato,  accented. 

Adagio,  very  slow. 

Ad  libitum,  at  the  player's  pleasure. 

Affettuoso,  tenderly. 

Agitato,  with  agitation. 

Agilita,  with  agility,  quickness. 

Al,  alia,  to  the,  or,  in  the  style  of. 

Alia  breve,  2-2  time. 

Al  segno,  to  the  sign. 

Alia  cappella,  in  the  style  of  the  church. 

Allegremente,  sprightly. 

Allegretto,  not  so  quick  as  allegro. 

Allegro,  quick. 

Allegro  agitato,  quick  and  agitate. 1 

Allegro  ass^i,  or  molto,  or  di  moito,  very  quick. 

Allegro  con  brio,  or  brioso,  quicx.  and  brilliant. 

Allegro  con  fuoco,  quick  and  animated. 

Allegro  con  moto,  faster  than  allegro. 

Allegro  furioso,  quick  and  furious. 

Allegro  con  spirito,  quick,  with  spirit. 

Allegro  maestoso,  quick,  but  dignified. 

Allegro  vivace,  quickly,  with  life  and  brightness. 

Amabile,  amiably. 

Amoroso,  lovingly. 

Andante,  slow  and  quiet.     Walking  movement. 

Andante  assai,  or  molto,  slower  than  andante. 

Andante  appassionata,  slow,  with  passion. 

Andante  con  moto,  quicker  than  andante. 


DICTIONARY   OF   MUSICAL   TERMS.  8> 

Andante  maestoso,  slow  and  dignified. 
Andantino,  slower  than  andante. 
Animato,  spirited. 
Armonioso,  harmoniously. 

Arpeggiato,     \        b      ,       d  .    h  } 

Arpeggio,         J  F    J  v     ' 

Attacco'subito,  }    Proceed  at  once  to  the  Allowing  movement. 

Ben  marcato,  well  marked. 

Ben  marcato  il  canto,  mark  the  melody  well. 

Bewegt,  with  movement. 

Brillante,  brilliantly. 
Brioso,  with  spirit. 

Cadenza,  an  ornamental  passage  played  ad  libitum. 
Calando,  diminish  both  in  power  and  rapidity. 
Calmato,  calmly. 
Cantabile,  in  singing  style. 
Capriccio,  caprice,  fancy. 

Chord,  two  or  more  tones  arranged  according  to  the  harmonic  law. 
Coda,  an  addition  after  the  natural  close  of  a  piece. 
Colla   parte,  with   the   part.     A  direction  to  an  accompanist  to 
follow  the  voice  or  instrument  he  accompanies. 

Comodo,  "as    convenient,"  as  "allegro  commotio"    quick    as 
convenient. 

Con,  with. 

Con  abbandono,  with  abandonment. 

Con  affeto,  with  affection. 

Con  anima,  with  animation. 

Con  brio,  with  vigor. 

Con  delicatezza,  with  delicacy. 

Con  dolcezza,  with  sweetness. 

Con  dolore,  with  pathos. 

Con  eleganza,  with  elegance. 

Con  energia,  with  energy. 

Con  espressione,  with  expression. 

Con  forza,  with  force. 

Con  fuoco,  with  fire. 

Con  grazia,  with  grace. 

Con  justo,  with  exactness. 

Con  leggierezza,  with  lightness. 

Con  mofo,  with  motion. 


H 


DICTIONARY   Oft  MUSICAL  TERMS. 


Con  passione,  with  precision. 

Con  semplicita,  with  simplicity. 

Con  spirito,  with  spirit. 

Con  tenerezza  ,  wilh  tenderness. 

Con  vivacita,  with  vivacity. 

Con  velocita,  with  velocity. 

Crescendo,  contraction  Cres.,  or  ~~Z.m  increase  in  power. 

Da  Capo  or  D.  C. ,  from  the  beginning. 

Dal  segno  or  Dal  CL  from  the  sign. 

Deciso,  decided. 

Decrescendo,  decres.  or  ^r==^,  decrease  in  power. 

Delicato,  \  del:catelv 

Delicatamente,}  delicate,y- 

Diatonic,  through  the  tones. 

Diminuendo,  diminishing. 

Divoto,  devoutly. 

Bolc^ente1,"}  ««** 

Dolorosa,  mournfully. 

Dritta,  right.     Mano  Dritta  or  M.  D.,  right  hand- 
Duet,  a  composition  for  two  performers. 
Elegante,  gracefully. 
Energico,  energetically. 
Egualmente,  equally. 
Espressivo,  expressively. 
Etude,  a  study. 
Facilita,  an  easier  adaptation.. 
Fine,  the  end. 
Finale,  the  last. 
Forte,  or/",  loud. 
Fortissimo,  or^",  very  loud. 

Forzando,  forz,  fz.  or  A,  accent  strongly  the  notes  thus  marker1 
Fuoco,  fire,  passion. 
Furioso,  furiously. 
Gaiement,  with  gayety. 
Gamut,  the  scale. 

Glissano,  to  glide  over  the  keys  with  one  finger. 
Grandioso,  grandly. 
Gravamente,  solemnly. 
Grave,  ihe  sluwe  t  movement. 
Grazioso.  gracefully. 


DICTIONARY   OF   MUSICAL  TERMS.  85 

Gioviale,  joyfully. 

Giocoso,  joyfully. 

Gustoso,  tastefully. 

Harmony,  a  combination  of  sounds. 

II,  the. 

Impetuoso,  impetuously. 

Innocente,  innocently. 

Intrada,  introduction. 

Istesso  tempo,  the  same  time. 

Key-note,  one,  or  the  first  note  of  the  Scale. 

Languido,  languidly. 

Largamente,  in  a  broad,  large  style. 

Largo,  very  slow  movement. 

Larghetto,  not  so  slow  as  largo. 

Larghissimo,  slower  than  largo. 

Legato,  smoothly. 

Legatissimo,  very  smoothly. 

Leggiero,  lightly. 

Leggierissimo,  very  lightly. 

Legeramente,  lightly. 

Lentando,  slower  by  degrees. 

Lento,  very  slow  movement. 

Loco,  in  place,  as  written. 

Lusingando,  languishing. 

Ma,  but,  as  (t allegro  ma  non  trofipo."     Quick,  but  not  too  quick. 

Maestoso,  majestic,  dignified. 

Main  Droit,  M.  D.,  the  right  hand. 

Main  Gauche,  M.  G.,  the  left  hand. 

Mano  Dritta,  M.  D.,  the  right  hand. 

Mano  Sinistra,  M.  S.,  the  left  hand. 

Marcato,  marked,  emphatic. 

Marcatissimo,  very  emphatic. 

Martellato,  marking  the  tones  distinctly,  hammered. 

Marziale,  martial. 

Meme  Mouvement,  the  same  movement. 

Meno  or  Men,  less,  as  limeno  mossoj'  not  so  (ast;  "men  forte" 
not  so  loud. 

Mestoso,  mournfully,  sadly. 

Mezzo, halfway;  as  mezzo  forte,  half  loud;  tnezzovoce,  with  halftone 

Modersto,  moderate  movement. 


56  DICTIONARY   OF   MUSICAL   TERMS. 

Mclto,  very. 

Morendo,  dying  away. 

Mosso,  movement,  motion  ;  piu  mosso,  quicker. 

Moto,  movement ;  con  moto  with  movement 

Movimento,  movement. 

Nobilimente,  nobly,  grandly. 

Non  tanto,  not  too  much. 

Notation,  expressing  sounds  by  visible  signs,  as  notes,  rests,  etc. 

Obbligato,  a  part  which  may  not  be  omitted. 

Opus,  a  work. 

Ordinario,  usual;  tempo  ordinario ,  usual  time. 

Ossia,  otherwise,  used  sometimes  in  place  of  the  word  Jacilita. 

Passionato,  passionate,  impassioned. 

Pastorale,  in  a  pastoral  style,  light  and  graceful. 

Pause,  a  sign  to  stop,  a  hold. 

Pesante,  to  be  played  emphatically. 

Patetico,  ~|    nnthetirallv 

Pathetique,    J  P^net,cally. 

Ped  ,  pedal. 

Perdendosi,  gradual  diminution  of  speed  and  power. 

Peu,  a  little. 

Piangendo,  painfully. 

Piano,  soft. 

Pianissimo,  very  soft. 

Piu,  more  ;  as  piu  allegro,  more  speed,  etc. 

Plantivo,  plaintive. 

Poco,  a  little  ;  as pocj piano,  a  little  softer. 

Poco  a  Poco,  by  degree*  ;  us  poco  a poco  cres.,  louder  by  degrees. 

Pomposo,  pompous. 

Portamento,  in  singing,  a  graceful  glide,  or  carrying  the  voice 

from  one  tone  to  another. 
Possible,  possible;  as  phi  prest o  possible ',  fast  as  possible. 
Precipitato,  precipitately. 
Prestezza,  rapidly. 
Presto,  very  fast. 
Prestissimo,  fastest  movement. 
Primo,  first. 
Prima  volta,  first  time. 

Quartet,  a  composition  for  four  performers. 
Quasi,  in  the  manner  of,  as  quasi  presto,  like  a  presto 


DICTIONARY  OF   MrtJSICAJ;   ZT^'V    S.  87 

QuietO;  quietly. 

Quintet,  3  composition  for  five  vcicc"  crinztrLi7.zcr.lz* 

Raddolcente,  softer  by  degrees. 

Rallentando,  Rail.,  slower  by  decrees. 

Rapldo,  rapidly. 

Recitativo,  Recit.,  in  piano  music  this  ::ignifh3  r.n  imitation  of 

the  style  of  musical  declamation  cahed  by  -he  same  name. 

Replica,  repetition. 

Rigore,  strictly,  exactness. 

Rinforzando,  Rinf. ,  with  emphasis. 

Risoluto,  in  a  resolute  manner. 

Ritardando,  )     ,  v     j 

Ritenuto,        j  slower  by  degrees. 

Scale,  a  succession  of  eight  tones. 

Scherzo,  a  light,  playful  movement. 

Scherzando,  )  .     .,  c         1 

c?   u        ~„«         r  ln  the  manner  of  a  scherzo. 

Scnerzoso,      J 

Segno,  or  ^£  a  sign. 

Segue,       \  now  follows,  also  sign'fies  that  the  passage  following  is 
Seguito,  j        to  be  played  in  the  same  way  as  the  preceding. 

Semitone,  the  smallest  interval;  a  half  tone. 

Semplice,  with  simplicity. 

Sempre,  always,  as  smj>re  fiiano,  always  soft. 

Sentimentale,  in  a  sentimental  mann-  r. 

Senza,  without,  as  senza  replica,  without  repetition. 

Serioso,  seriously. 

Sextet,  a  composition  for  six  persons. 

Sextolet,  a  group  of  six  notes. 

Sforzato,     )    of„  ,      .      ,,  , 

Sforzando,  J  '  emPnasize  the  note  strongly. 

Signature,  flats  or  sharps  at  the  beginning  to  mark  the  key  of  a 
composition. 

Slentando,  diminution  in  speed. 

Slur,  the  legato  mark. 

Smorzando,  smothered. 

Soave,  softly,  sweetly. 

Solo,  a  composition  for  one  performer. 

Sostenuto,  sustained  tone. 

Sotto  Voce,  in  an  undertone. 

Spiritoso,  with  spirit. 

Staccato,  detached. 


38  DICTIONARY   OF   MUSICAL   TERMS. 

Stringendo,  hurrying,  accellerating  the  time. 
Tacet,  silence. 
Tardo,  dragging. 

Theme     (    ^e  su^Ject  or  theme. 

Tempestoso,  stormy,  tempestuous. 

Tempo,  time,  movement. 

Tempo  Commodo,  in  a  convenient  degree  cf  movement. 

Tempo  Giusto,  in  exact  time. 

Tempo  Primo,  in  the  first  time.     Used  after  rit.  or  accel.,  etc. 

Tendrement,     )    .       ,     , 
•r      a  JL     r  tenderly. 

Tendremente,   j  / 

Tenuto,  hold  the  sound  its  full  vaiue. 

Timoroso,  timidly. 

Tranquillo,  ")  n  .  ,, 

Tranquillamente,   j    tranquilly,  quietly. 

Tre  Cordi,  three  strings,  used  after  una  corda,  which  see. 

Tremando,  )    .•  .  ,  .,  f  .  ■       , 

t     ~,    i~         r   the  rapid  iteration  ot  a  note  or  chord. 
Tremolo,      j  r 

Trillando,  a  succession  of  trills. 

Trio,  a  composition  for  three  performers  ;  also  a  third  part. 

Tromba,  a  trumpet.      Quasi  tromba,  like  a  trumpet. 

Tutti,all. 

Tutta  Forza,  with  all  force,  as  loud  as  possible. 

Un  Poco,  a  little. 

Una  Corda,  one  string.     Refers  to  the  pedal  of  a  grand  piano 

that  shifts  the  action  so  as  to  strike  one  string. 
Unison,  the  same  sound. 
Veloce,  with  velocity. 
Velocissimo,  with  utmost  rapidity. 
Vibrato  or  Vibrante,  a  firm  pressure  on  the  key  is  implied  bv 

this  term. 

Vigoroso,  boldly,  vigorously. 

Vivace,  )    ,    .  ,  .         .  , 

\Ti..~^L~.*.*.      r   briskly,  with  animation. 
Vivamente,   j  J} 

Vivacissimo,  with  extreme  vivacity. 

Vivo,  lively,  animated. 

Voce,  the  voice. 

Volante,  flying,  light  and  rapid. 

Volti  Subito,  or  V.  S.,  turn  over  quickly. 

Zefiiroso,  zephyr-like. 


Gaide   to   Pt*aetiee. 


INTRODUCTION. 

The  course  of  practice  recommended  in  the 
following  remarks  cannot  be  expected  to  coincide 
with  the  views  of  every  instructor,  or  be  equally 
applicable  to  all  pupils  ;  the  point  sought  to  be 
established  is,  that  the  pupil  should  have  a  regular 
system  to  go  by,  and  in  whatever  particular  this 
may  differ  from  the  views  of  the  teacher  upon  the 
various  points  connected  with  the  mode  of  practic- 
ing, he  can  easily  point  out  the  differences  he  wishes 
to  be  made  ;  at  all  events,  if  this  work  serves  no 
other  purpose,  it  will  have  the  effect  of  bringing 
the  subject  of  practice  more  particularly  into 
notice,  and,  in  default  of  better  instructions,  be  at 
least  some  guide  to  the  pupil,  and  prevent  much 

of  that   waste    of  time  which   daily  occurs  with 

(s9) 


QO 


GUIDE  TO   PRACTICE. 


those  who  even  with  the  greatest  diligence  do  not 
combine  method.  It  may  be  said  that  every 
instructor  is  the  best  judge,  and  gives  his  own 
directions  as  to  what  and  how  his  pupil  shall 
practice.  To  a  certain  extent  this  is  true  ;  but, 
upon  the  principle  that  "everybody's  business  is 
nobody's  business,"  it  may  frequently  be  left 
undone;  besides  if  it  be  done,  a  master  cannot 
constantly  repeat  the  same  thing,  and  pupils  do 
sometimes  forget. 

No  master  disputes  the  utility  of  the  daily 
practice  of  Exercises  and  Scales,  but  many  pupils 
have  a  great  disinclination  thereto ;  and,  though 
it  is  not  to  be  doubted  that  every  one  will  practice 
them  to  the  extent  he  may  be  desired,  still,  as 
that  which  is  done  willingly,  and  with  a  conviction 
of  its  being  conducive  to  improvement,  will 
always  be  not  only  more  pleasant,  but  much  more 
satisfactory  in  its  results,  than  that  which  is 
done  as  a  mere  task,  the  author  assures  all  pup;ls 
that  more  improvement  will  be  made  in  one 
month  by  those  who  practice  them  daily  than  will 
be  made  in  six  or  even  twelve  months  by  those 
who  do  not. 

The  greatest  performers  never  discontinue 
the  practice  of  Scales  and  Exercises. 


GUIDE   TO   PRACTICE. 


9* 


It  is  scarcely  necessary  to  remark  that  practice, 
to  be  efficient,  must  be  upon  a  good  principle. 
Practice  upon  a  bad  principle,  or,  what  is  more 
common,  without  any  principle  at  all,  will  but 
confirm  error,  and  render  it  more  difficult  to 
conquer.  It  is,  therefore,  essential  to  prevent 
any  bad  habits  from  being  acquired ;  and  the 
very  first  time  a  child  puts  its  fingers  on  the  keys, 
it  should  be  taught  to  do  so  in  a  proper  manner. 
This  opinion  is  much  at  variance  with  common 
practice,  which  is,  to  let  a  child  learn  any  how  at 
first,  and,  when  it  has  contracted  all  sorts  of  bad 
habits,  to  give  it  a  good  master,  who  has  not 
only  to  teach,  but  also  to  unteach,  if,  indeed,  that 
can  ever  be  done.  A  child's  learning  anything 
may  be  compared  to  the  winding  of  a  skein  of 
thread,  which,  if  it  has  not  been  tangled,  may  be 
easily,  though  perhaps  in  some  instances  slowly, 
wound  ;  but  if  it  be  tangled,  not  only  will  the 
trouble  be  increased  tenfold,  but  the  chances  are 
that  it  will  be  broken  in  many  places,  and 
consequently  never  perfect.  Some  pupils  have 
naturally,  that  is  to  say,  without  any  instruction  as 
to  how  it  should  be  done,  a  better  mode  of 
touching  the  keys  than  others,  as  some  persons 
are  naturally  more  or  less  graceful  in  all  they  do, 


Q2  GUIDE   TO    PRACTICE. 

while  others  are  more  or  less  awkward  ;  but  it  is 
not  sufficient  that  anything  be  well  done  ;  it  must 
be  done  well  upon  principle.  Those  who  have 
what  may  be  termed  a  natural  good  touch  will 
have  less  difficulty  to  contend  with  ;  but  they 
must  not  be  allowed  to  be  ignorant  of  the  principle 
upon  which  they  do  well.  It  is  not,  however, 
in  the  province  of  these  remarks  to  give  a  detailed 
explanation  of  the  principle  upon  which  different 
passages  should  be  played.  This  can  only  be 
properly  and  progressively  done  by  a  good 
instructor. 

One  thing  cannot  be  too  strongly  impressed  on 
the  mind  of  the  pupil,  which  is  the  necessity  of 
patience  and  perseverance  in  thoroughly  under- 
standing and  playing  correctly,  though  perhaps 
not  fluently,  the  early  exercises,  as  upon  these 
will  depend  all  the  future  progress.  If  there  be 
but  two  notes  to  be  played,  still  those  two  notes 
must  be  well  dohe,  and  it  is  not  sufficient  that  the 
pupil  be  able  to  do  them  well  once  or  twice,  but 
he  must  practice  doing  so  ;  and  the  rule  for  going 
forward  must  never  be  when  anything  has  been 
played  a  certain  number  of  times,  or  when  it  is 
merely  correct,  but  when,  by  repetition,  it  has 
become  habitual  to  do  it  well.     As  an  incitement 


GUIDE   TO    PRACTICE.  93 

to  perseverance,  it  may  be  remarked,  that  those 
who  understand  and  do  play  even  two  notes  well, 
may  soon,  with  the  same  application,  play  four, 
and  so  on ;  whereas  those  who  pass  over  the 
first  two  notes,  or  anything  else,  without  being 
thoroughly  understood  and  sufficiently  practiced, 
will  never  make  any  satisfactory  progress. 

For  the  sake  of  giving  precise  directions,  it 
has  been  assumed  that  every  pupil  should 
practice  two  hours  a  day  ;  and  it  may  be 
with  truth  said,  that  those  who  expect  to  make 
any  efficient  progress  should  do  this  at  the 
least.  Those  who  adhere  strictly  to  the  direc- 
tions for  the  two  hours  may,  it  is  conceived, 
from  the  habits  acquired  thereby,  be  safely 
left  to  their  own  discretion  for  any  additional 
time. 

ON   PRACTICE  IN  GENERAL. 

Fixed  hours  should  be  appointed  for  practice. 
It  is  not  enough  to  say  that  a  pupil  should 
practice  two  or  more  hours  a  day,  but  the  time 
for  so  doing  should  be  fixed  ;  every  day's 
experience  shows  that  whatever  is  left  to  be  done 
at  an  uncertain  time  is  frequently  left  undone,  01 
at  best  done  but  imperfectly. 


94 


GUIDE  TO   PRACTICE. 


/ 


The  first  portion  of  every  hour's  practice 
snould  be  devoted  to  Exercises  or  Scales. 

Practicing  a  passage,  exercise  or  scale,  does 
not  mean  playing  it  through  once,  twice  or 
thrice,  but  a  careful  repetition  of  it  twenty  01 
thirty  times  successively,  and  the  practice  of  the 
same  should  be  resumed  daily  till  it  be  executed 
with  correctness  and  precision,  and  with  as 
much  fluency  as  the  progress  of  the  pupil  will 
admit. 

The  degree  of  rapidity  with  which  anything  is 
played  may  be  conceded  to  the  age  or  ability  of 
the  pupil  ;  but  respecting  the  principle  upon 
ivhich  it  is  played,  there  must  be  no  compromise. 
A.  pupil,  therefore,  must  not  conclude  anything  to 
be  sufficiently  practiced  until 

Not  one  wrong  key  is  struck. 

Not  one  wrong  finger  used. 

Not  one  finger  dowrn  when  it  ought  to  be  up, 
or  up  when  it  ought  to  be  down. 

The  hand  held  in  a  proper  position  through- 
out.   • 

The  piece  or  passage  played  in  proportion, 
and  without  looking  at  the  fingers. 


GUIDE   TO    PRACTICE. 


OS 


Nothing  which  fails  in  any  of  these  particulars 
can  be  termed  correctly  done. 

RULES  TO  BE  OBSERVED  AT  PRACTICE. 

I.     Never  pass  a  mistake. 

Never  pass  over  a  mistake,  but  whenever  a 
wrong  key  is  struck,  a  wrong  finger  used,  if  a 
finger  be  down  or  up  when  it  ought  to  be  other- 
w  ise,  or  if  the  passage  be  not  played  in  proportion, 
recommence  the  passage,  and  continue  to  do  so 
till  it  be  done  correctly.  Passing  on,  intending  to 
rectify  the  mistake  at  another  time,  will  only  serve 
to  confirm  the  error,  and  render  it  ultimately 
more  difficult  to  conquer. 

II.     Practice  slowly  at  first. 

Avoiding  mistakes  is  better  than  having  them 
to  rectify.  Practice,  therefore,  slowly  at  first,  and 
when  the  passage  is  done  correctly,  increase  the 
rapidity  to  the  desired  degree.  It  is  certain  that 
that  which  cannot  be  done  correctly  slow,  will  not 
be  correct  when  done  fast  The  rapidity  may 
render  the  incorrectness  less  observable,  but  it 
will  not  be  the  less  bad. 


q6  guide  to  practice. 

ill.     Ascertain  the  nature  of  the  difficulty. 

When  any  passage  is  found  to  be  difficult,  the 
first  point  is  to  ascertain  exactly  where,  and  in 
what  particular \  the  error  or  the  difficulty  consists. 
Suppose,  for  instance,  in  a  passage  of  twenty 
notes,  the  difficulty  lies  in  the  execution  of  two  or 
three  notes  only  ;  in  that  case,  practice  those  two 
or  three  notes  till  they  be  done  with  readiness,  and 
then  practice  the  whole  passage. 

IV.     Practice  with  each  hand  separately. 

It  may  be  sometimes  advisable  to  practice  a 
passage  with  each  hand  separately.  It  may  be 
relied  on,  that  if  a  passage  be  not  played  correctly 
with  one  hand  at  a  time,  it  will  not  be  well  done 
with  both  hands  together. 

V.     Select  passages  for  practice. 

As  all  parts  of  a  piece  will  not  require  the 
same  degree  of  practice,  select  those  parts  in 
which  there  is  any  difficulty,  and  practice 
them.  Much  time  is  saved  by  this  method. 
For  example,  suppose,  in  a  page  of  forty  bars, 
tnere  are  two  which  will  require  practicing 
fifty   times,    or    more,    to    do    correctly ;     it   is 


GUIDE   TO    PRACTICE.  cfl 

obvious  that  it  will  be  less  trouble,  and  take 
less  time,  to  practice  the  two  bars  fifty  times 
than  the  whole  page  fifty  times  ;  besides  which, 
any  difficulty  will  be  much  sooner  surmounted 
by  being  played  fifty  times  successively,  than  if 
it  be  played  the  same  number  of  times,  with 
forty  or  fifty  bars  intervening  between  each 
repetition. 

VI     Practice  in  small  portions. 

When  a  piece  contains  no  decided  compara- 
tively difficult  passage  requiring  to  be  practiced 
as  above,  still  it  is  desirable  to  practice  it  in  small 
portions,  rather  than  straight  through  from  the 
beginning  to  the  end.  For  instance,  suppose  two 
pages  containing  eighty  bars  are  to  be  practiced  ; 
the  pupil  will  be  much  more  familiarized  with  the 
piece  by  playing  portions  of  ei^ht  or  sixteen  bars, 
as  may  be  convenient,  each  twenty  times,  than  if 
he  play  the  whole  eighty  bars  straight  through 
twenty  times. 

VII     Caution  required  in  selecting  passages. 

In  selecting  passages  for  practice,  it  is  desirabie 
not  to  begin  or  end  always  at  the  same  place, 
unless    it    be    a    completely   detached    passage : 


gg  GUIDE   TO    PRACTICE. 

otherwise  a  habit  of  hesitating  or  stopping  at  a 
particular  place  will  be  contracted,  which  it  may 
be  afterw  ards  difficult  to  overcome. 

VIII.     Extend  and  reverse  passages. 

It  is  frequently  useful  to  lengthen  or  extend  a 
passage  to  a  greater  compass  than  may  be 
required  in  the  piece,  or,  in  fact,  to  make  an 
exercise  of  it.  For  example,  if  an  arpeggio 
extending  two  octaves  requires  practice,  it  will  be 
good  policy  to  practice  it  to  the  extent  of  three  or 
four  octaves. 

It  is  also  desirable,  when  the  passage  will 
admit  of  it,  to  practice  both  ascending  and  descend- 
ing, although  only  one  way  may  be  required  in 
the  piece. 

IX.     Repeat  correctly  six  successive  times  at  least. 

No  passage  that  has  been  badly  played  should 
be  considered  as  sufficiently  practiced  when  done 
once  or  twice  right ;  six  successive  times 
without  error  is  the  least  that  can  be  depended 
on. 

If,  on  resuming  the  practice  of  the  same  on 
another  occasion,  it  should  be  incorrect  (as  will 


GUIDE   TO   PRACTICE.  qq. 

frequently  be  the  case),  it  should  be  practiced  till 
it    be    done    twelve    successive  times  without 
error  and  so  on  till  it  can  be,  with  a  certainty 
played  correctly. 

X.     Practice  the  piece  as  a  whole. 

After  practicing  in  detail  as  above  described, 
the  piece  must  be  carefully  practiced  as  a  whole 
from  beginning  to  end.  If,  in  doing  this,  any 
mistake  should  occur,  the  best  remedy  is  to 
recommence  the  whole  page  or  two  (nothing  fixes 
the  attention  so  much  as  this),  and  continue  to  do 
so  until 

Not  one  wrong  key  be  struck. 

Not  one  wrong  finger  used. 

Not  one  finger  be  down  or  up  when  it  ought 
to  be  otherwise,  and  until  the  whole  be  played 
through  in  proportion. 

XL     After  correctness,  practice  for  fluency . 

Practice,  besides  being  necessary  for  insuring 
correctness  in  any  piece  or  passage,  is  afterwards 
requisite  for  the  purpose  of  gaining  more  fluency 
or  more  finish  in  the  manner  of  executing  it. 


IOO  GUIDE   TO   PRACTICE. 

XII.     Practice  till  perfect. 

Lastly,  it  may  not  be  amiss  to  remark,  that 
although  it  is  desirable,  both  by  diligence  and 
method,  to  accomplish  as  much  as  possible  in  the 
shortest  time,  still  a  pupil  should  remember  that, 
when  any  piece  is  played,  nobody  inquires  how 
often  it  has  been  practiced,  or  how  long  the 
performer  has  been  learning  it — the  only  point 
is,  whether  it  be  well  or  ill  done.  No  stated 
number  of  times  can,  therefore,  be  fixed  upon ; 

but    a    PIECE    SHOULD    BE    PRACTICED    TILL    IT    BE 
PERFECT. 

POSITION   OF  THE   HAND  AND   ARM. 

The  hand  and  fore-arm  should  be  in  a  straight 
line  from  the  elbow  to  the  middle  joint  of  the 
second  finger,  keeping  the  wrist  neither  raised  nor 
depressed.  The  fingers  are  to  be  kept  moderately 
bent,  and  apart  (directing  particular  attention  to 
the  second  and  third  fingers,  which  are  more  apt 
to  be  too  close  together  than  the  others),  so  that 
one  finger  may  be  over  the  centre  of  each  key ; 
and  the  thumb  must  always  be  kept  over  a  key. 
It  is  of  the  highest  importance  to  attend  to  the 
keeping  of  each  finger  over  the  centre  of  a  key, 


GUIDE   TO    PRACTICE.  IOi 

for  many  persons,  notwithstanding  they  may 
encompass  five  keys  from  the  thumb  to  the 
little  finger,  by  keeping  the  other  fingers  at 
unequal  distances,  play  indistinctly.  For  example, 
supposing  the  right  thumb  to  play  C,  instead  of 
striking  F  distinctly  with  the  third  finger,  they 
strike  both  E  and  F  with  the  third  finger. 
Errors  of  this  sort  are  not  at  all  uncommon, 
particularly  in  arpeggio  passages,  and  should  be 
guarded  against  from  the  first,  by  acquiring  a 
habit  of  keeping  each  finger  over  the  centre  of  a 
key. 


OF  THE  MANNER  OF  TOUCHING  THE 

KEYS,  OR  PUTTING  DOWN  AND 

RAISING  THE  KEYS. 

0 

This  is  a  point  not  generally  sufficiently 
attended  to,  but  it  is  one  of  the  greatest  import- 
ance, and  should  be  thoroughly  understood  and 
put  in  practice  at  first ;  for  the  want  of  a  proper 
manner  of  putting  down  and  raising  the  fingers, 
throws  great  additional  difficulty  in  the  execution 
of  everything  that  is  played  and  not  only  adds 
difficulty,  but  gives  a  bad  effect,  however  perfect 


102  GUIDE   TO    PRACTICE. 

the  performance  may  be  in  all  other  respects. 
If  the  attention  be  strictly  directed  to  this  at  first, 
: be  proper  manner  of  putting  down  and  raising 
.he  firger  will  become  a  habit,  and  will  cause  no 
trouble  afterwards,  whereas,  if  this  be  neglected 
at  first,  and  the  pupil  be  allowed  to  practice  upon 
a  bad  or  upon  no  fixed  principle,  bad  habits  will 
be  acquired,  and  become  more  or  less  confirmed, 
in  proportion  to  the  degree  of  practice,  and 
which,  if  ever  they  be  overcome,  must  be  so  at 
the  expense  of  much  labor  and  time.  It  is, 
therefore,  essential  to  prevent  any  bad  habit  being 
contracted. 

The  rule  is  simply  to  hold  the  finger  down  on 
one  key  till  the  next  is  down,  but  not  longer, 
or,  as  it  may  be  otherwise  expressed  : 

Two  keys  which  are  to  be  played  successively 
must  not  be  held  down  together,  neither  must 
one  be  raised  till  the  other  is  down.  In  order  to 
direct  the  attention  particularly  to  this  point,  it 
may  be  as  well  to  remark,  that  if  the  finger  be 
held  down  too  long  after  the  following  key  is 
struck,  it  may  be  so  in  a  greater  or  less  degree. 
For  instance,  suppose  C  D  are  to  be  played 
Successively  ;   C  may  be  held  during  the  whole,  or 


GUIDE  TO    PRACTICE.  103 

half,  or  a  quarter  of  the  time  after  D  is  down, 
either  of  which  is  wrong,  though  not  equally  so. 
It  is  not  unusual  with  those  who  have  a  bad  touch, 
when  five  successive  keys  are  played,  to  find  the 
whole  five  down  at  once  ;  so  that  the  first  is  down 
four  times  longer  than  it  ought  to  be,  and  the 
others  proportionately  so. 

It  may  be  remarked,  thai  those  who  hold  the 
fingers  down  too  much  in  some  places  generally 
raise  them  too  soon  in  others.  Raising  the  fin-  ers 
from  one  key  before  the  next  is  down  n.ast 
equally,  as  a  general  rule,  be  guarded  against,  as 
it  gives  a  broken  and  disjointed  effect. 

Let  it  not,  however,  be  conceived  that  either 
holding  one  key  down  after  the  next  is  struck,  or 
taking  one  up  before  the  next  be  down,  is  wrong, 
if  marked  to  be  so  played.  What  is  intended  to 
be  impressed  on  the  mind  of  the  pupil  is,  that  the 
general  rule  must  be  to 

Hold  one  key  till  the  next  is  down,  but  not 
longer. 

And  no  exercise,  passage  or  lesson  should  be 
played  in  which  this  cannot  be  strictly  attended  to, 
until  a  perfect  habit  of  playing  upon  this  principle 
is  acquired ;  after  which  the  exceptions,  such  as 


404  GUIDE  TO   PRACTICE. 

raising  the  fingers  at  the  rests,  repeated  notes,  and 
those  marked  to  be  played  staccato,  etc.,  must  be 
learned. 


OF   PRELIMINARY   EXERCISES. 

It  is  important,  when  striking  a  key  with  one 
finger,  to  do  so  without  moving  the  others.  To 
acquire  the  power  of  doing  this,  exercises  in 
which  some  fingers  are  held  firmly  down  while  the 
others  are  moving  must  be  practiced.  Exercises 
are  termed  " preliminary,"  because  they  are  to  be 
practiced  before,  and  because  they  differ  in 
principle  from  all  others  in  this  respect,  viz.,  that 
for  the  purpose  of  acquiring  for  each  finger  a  free 
action,  independent  of*  the  others,  those  fingers 
which  are  not  employed  in  playing  are  to  be  held 
down ;  whereas  the  general  rule  in  all  other 
exercises  is  to  hold  none  down  but  what  are 
actually  employed  in  playing. 

The  daily  practice  of  these,  for  a  snort  time 
previous  to  other  exercises,  will  always  be  highly 
beneficial. 


GUIDE   TO    PRACTICE.  Ic>5 

OF  LOOKING  AT  THE  FINGERS. 

It  is  essential  that  the  pupil  should  acquire 
the  power  of  playing  without  looking  at  the 
fingers.  To  accomplish  this,  a  little  time 
should  occasionally  be  devoted  to  this  object 
exclusively. 

It  must  be  obvious  that  the  object  of  all 
exercises  for  this  purpose  will  be  defeated  if  th  ey 
be  played  till  the  pupil  remember  them  ;  therefore 
the  same  must  never  be  played  twice  in  one  day. 

Besides  those  which  are  expressly  intended  (by 
directing  the  attention  for  the  time  being  to  that 
object  solely)  to  teach  the  pupil  to  play  without 
looking  at  the  fingers,  it  must  be  borne  in  mind 
that  all  the  other  exercises  should  be  played  at 
first,  and  afterwards  practiced  till  they  can  be 
executed  without  once  looking  at  the  fingers  after 
first  placing  the  hand. 

OF  THE   PRACTICE  OF  EXERCISES. 

The  greatest  difficulties  arise  from  a  want  ol 
attention  to  the  position  of  the  hand,  and  the 
manner  of  putting  down  as  well  as  taking  up  the 
fingers  at  the  proper  places.  The  attention  of  the 
pupil  must,  therefore,  be  directed  to  these  points 


I06  GUIDE   TO    PRACTICE. 

in  the  practice  of  exercises  until  it  becomes 
habitual  both  to  hold  the  hands  well,  and  touch 
the  keys  in  a  proper  manner.  Exercises  are 
classed  for  different  purposes,  such  as  the  practice 
of  single  notes,  double  notes,  arpeggios,  etc.,  etc., 
and  as  passages  similar  to  all  exercises  will  be 
found  in  lessons,  they  will,  after  being  practiced 
and  mastered  as  exercises,  not  appear  as  difficulties 
when  they  occur. 

ORDER  OF   LEARNING  AND  PRACTICING 

THE   SCALES. 

When  the  pupil  is  sufficiently  advanced  the 
Scales  should  be  learned  and  practiced  daily. 

On  Mondays,  or  any  fixed  day  of  the  week, 
learn  one  Major  Scale,  taken  in  regular  order,  and 
its  relative  Minor,  and  practice  the  same  six  times, 
or  more,  every  day  during  the  week;  but  if,  at  the 
week's  end,  they  are  not  done  correctly,  and  with 
as  much  fluency  as  may  be  desired,  the  same  must 
be  practiced  for  a  week,  or  as  many  weeks  more 
as  may  be  requisite,  before  proceeding  to  the 
next. 

The  Scales  should  be  practiced  in  several 
different  ways. 


GUIDE    TO    PRACTICE.  I07 

First  mode  of  going  through  the  Scales. 

Practice  with  each  hand  separately,  ascending 
and  descending  six  or  more  times  without  inter- 
mission. 

It  may  not  be  useless  to  remark  that,  in 
whichever  mode  they  be  practiced,  the  following 
points  must  be  attended  to  : 

The  hand  must  be  held  in  a  proper  position 
throughout. 

As  one  finger  goes  down,  the  former  must  be 
raistd,  so  that  always  one,  and  only  one,  key  be 
down  at  a  time. 

In  passing  the  thumb  under  the  fingers,  or 
fingers  over  the  thumb,  great  care  must  be  taken 
to  do  so  with  as  little  motion  of  the  hand  as 
possible. 

When  this  is  thoroughly,  though  perhaps 
slowly,  accomplished,  the  pupil  may  proceed 
upon  the  same  principle  to  the  scale  next  in 
succession,  until  all  have  been  gone  through 
with. 

When  all  the  scales  have  been  practiced 
through  in  this  manner,  it  will,  most  probably,  be 
desirable    to  recommence,   and  go  through  the 


I08  GUIDE   TO    PRACTICE. 

same  course  again,  before  proceeding  to  the  next 
mode. 

Second  mode  of  going  through  the  Scales. 

Practice  with  both  hands  together,  ascending" 
and  descending  eight  or  more  times  successively. 
The  same  directions  as  to  position  of  the  hand, 
correctness  and  repetition,  if  necessary,  of  the 
same  Scales,  must  be  attended  to  in  this 
and  succeeding  modes,  as  are  recommended 
in  the  first  mode  of  practicing  the  Scales ; 
also,  the  repetition  of  the  whole  course  if 
necessary. 

Third  mode  of  going  through  the  Scales. 

Instead  of  ascending  and  descending  as  before, 
practice  each  Scale  six  or  more  times,  ascending 
only,  and  then  as  many  times  descending  only, 
with  each  hand  separately. 

Practice  progressively  with  increased  rapidity. 

Fourth  mode  of  going  through  the  Scales. 

Practice  each  Scale  eight  times  or  more, 
ascending  only,  and  then  as  many  times  descend- 
ing only,  with  both  hands  together. 

Practice  progressively  with  increased  rapidity. 


GUIDE   TO   PRACTICE.  log 

Fifth  mode  of  going  through  the  Scales. 

Practice  each  Scale  in  thirds  eight  times,  or 
more. 

To  play  a  Scale  in  thirds,  begin  with  the  right 
hand  on  the  third  of  the  Scale,  with  the  finger 
that  would  have  been  upon  it  had  the  scale 
been  commenced  on  the  key  note,  playing  at 
the  same  time  with  the  left  hand  in  the  usual 
manner. 

Sixth  mode  of  going  through  the  Scales, 

Practice  each  Scale  in  sixths  eight  times,  or 
more. 

To  play  a  Scale  in  sixths,  begin  with  the  left 
hand  on  the  third  of  the  Scale  (viz.,  a  sixth  below 
the  right  hand),  with  the  finger  that  would  have 
been  upon  it  had  the  Scale  been  commenced  with 
the  key  note,  playing  at  the  same  time  with  the 
right  hand  in  the  usual  manner. 

ON  THE   PRACTICE  OF  OLD  LESSONS. 

It  is  desirable  to  keep  up  the  practice  of  old 
lessons,  but  it  is  presumed  that  a  little  time  will 
suffice    for    that    purpose,    if    they    have    been 


IIO  GUIDE   TO    PRACTICE. 

properly  learned ;  therefore,  at  the  second  hours9 
practice,  on  Tuesdays,  Thursdays  and  Satur- 
days, practice  an  old  lesson ;  if  it  be  done 
properly,  proceed  to  another ;  but  if  not,  resume 
the  practice  of  the  same  on  the  appointed  days, 
till  it  be  perfect. 


HOME    AND    DAILY    LIFE    RULES    FOR    THE 

MUSICAL  GENERATIONS   NOW 

GROWING  UP, 


BY  HERMANN  MOHR. 


MOTTO. 
Who  Music  as  a  friend  has  won, 
Has  a  heav'nly  work  begun, 
For  Music  wa3  not  born  on  earth  — 
To  Heav'n  itself  she  thanks  her  birth 
There  the  angels,  bright  and  fair, 
Each  and  a!l  musicians  are. 

—Dr.  Martin  Luther. 

1.  That  which  thou  findest  to  do,  do  it  with  thine 
whole  heart.  Do  not  be  discouraged  by  difficulties, 
for  it  is  perseverance  alone  that  leads  us  to  the 
goal.  The  greatest  masters  studied  and  practiced 
without  interruption. 

2.  The  foundation  of  a  fine,  fluent,  anu  artistic  style 
of  playing  is,  and  will  always  be,  the  ENERGETIC 
STUDY  OF  TECHNIQUE.  Should  you  neglect  it  in 
your  youth  you  will  continue  to  be  more  or  less  of  U 

2 


bungler  all  your  life.  "  You  cannot  teach  an  old  do* 
jew  tricks !  " 

C  Rhythm  (time)  is  the  soul  of  music.  It  is  a  diffi- 
cult matter  to  attain  absolute  certainty  in  time.  Many 
fail  therein  during  the  whole  of  their  life.  The  sense 
of  time  can  only  be  developed  by  counting  aloud, 
especially  in  movements  of  um  qual  rhythm.  The 
subdividing  of  the  beats  of  a  bar  into  '*  ooe-and,  two- 
and,"  etc.,  certainly  does  not  sound  fine,  but  it  refines 
the  sense  of  rhythm. 

4.  When  practicing  a  new  piece  do  not,  at  first,  play 
it  more  quickly  than  it  is  possible  for  you  to  do 
without  making  material  mistakes  in  fingering  and 
time.  Pay  special  attention  at  the  same  time  to  a  clean 
touch,  to  an  accurate  time-value  being  given  to  notes 
and  rests,  and  habituate  yourself  to  the  immediate 
recognition  of  the  signs  of  expression.  If  you  cannot 
manage  all  these,  even  in  very  slow  time,  the  piece 
is  too  difficult  for  you  .Lay  it  aside,  for  time  a.:d 
trouble  will  be  wasted. 

5.  Take  pains  at  an  ear)/  s£ag"  Jo  recognize  by  ear  the 
puch,  major  or  minor  scale,  intervals,  and  harmonic 
relations  of  a  piece. 

3 


6.  In  pianoforte-playing  you  must  sit  at  such  a  height 
as  to  brir  g  your  elbows  exactly  on  a  level  with  the 
key-board.  Rotary  stools  are  unpractical  and  so  are 
cushions.  Seats  (boards)  which  can  be  raised  and 
lowered  at  will  and  which  are  adaptable  to  any  chair 
are  to  be  recommended. 

7.  It  is  a  bad  habit  to  keep  on  hat,  overcoat,  bracelets. 
Tings,  etc.,  during  the  lesson.  All  these  things  are 
superfluous  and  detract  from  a  free  playing. 

8.  Never  strum  !  Practice  up  even  a  simple  task  very 
correctly  and  with  conscientious  accuracy  of  touch  and 
delicacy  of  expression,  and  always  imagine  that  a 
judge  of  music  is  listening  to  you. 

9.  It  is  better  to  play  easier  pieces  really  well  than  to 
perform  more  difficult  ones  indifferently  well. 

10.  A  piece  of  music  which  is  played  without  any  ac 
cent  and  expression  reminds  me  of  meat  without  salt. 

11.  Read  diligently  that  which  others  are  playing  from 
notes.  By  so  doing  you  are  training  the  ear  to  recog- 
nize what  the  eye  sees.  You  will  thus  learn  to  hear 
and  correct  faults — ay,  you  will  be  led  on  to  feel  the 
written  sounds  in  your  mind. 

12.  It  is  an  art  to  turn  over  neatly  and  at  the  right 
moment  for  others.  Learn  it ! 

4 


13.  Always  take  care  to  have  your  music  stitcbed  or 
bound  and  to  have  any  loose  half-sheet  in  the  middle 
pasted  in.  You  will  thereby  save  nuch  time  and 
avoid  many  a  mishap  when  performing. 

14.  Bear  in  mind  that  the  pedal  is  not  a  footstool ; 
neither  must  it  be  used  as  a  cloak  for  inaccurate  play- 
ing. The  more  delicate  sense  of  the  correct  use  of 
the  ped^l  will  come  of  itself  when  you  study  harmony 
diligently. 

1£.  Habituate  yourself  to  playing  before  company, 
but  play  only  that  which  you  can  perform  properly, 
otherwise  abstain  therefrom.  If  possible,  learn  by 
heart  that  which  you  propose  to  play  in  public.  L 
you  have  no  trouble  about  the  notes  you  can  concen 
trate  the  whole  of  your  mind  on  execution  and  ex- 
pression. 

16.  If  you  are  sensible  you  will  gain  more  by  the  fault- 
finding of  a  musical  connoisseur  than  by  the  praise  of 
fifty  others  who  understand  little  about  music. 

17.  Neglect  no  opportunity  of  playing  in  concert  with 
others,  especially  if  they  are  in  advance  of  you. 
Through  unisonic  playing  on  two  instruments,  through 
four-  and  eight  handed  playing,  through  duets,  trios, 


and  quartettes,  your  own  playing  will  become  more 
rhythmical,  flowing,  and  soulful. 

18.  A  few  sheets  of  Cramer's  studies,  of  Beethoven's 
sonatas,  or  Bach's  preludes  weigh  more  than  ten 
pounds  of  dance-music,  operatic  melodies,  and  pot 
pourris. 

19.  There  are  many  who  can  play  difficult  pieces  with 
good  execution  and  who  are  nevertheless  unable  to 
undertake  to  accompany  a  simple  song  or  violin  piece. 
He  who  cannot  do  this  should  learn  to  do  so,  for  he  is 
still  very  far  distant  from  the  portals  of  the  temple  of 
art. 

20.  You  will  soon  attain  an  appreciation  of  the  inner 
meaning  of  music  if  you  practice  transposition.  Be- 
gin with  easy  pieces  with  which  you  are  familiar  and 
leave  the  greater  part  of  the  work  to  your  musical  ear. 

21.  A  good  instrument  will  help  rapid  improvement 
more  than  an  old  box  of  castanets.  Insist  upon  adhe- 
sion to  the  French  pitch  and  to  accuracy  of  tuning. 

22.  My  child,  occupy  yourself  in  zeal  and  love,  with 
musical  theory,  the  laws  of  harmony,  and  counterpoint. 
If  ycu  cannot  yet  recognize  the  full  importance  of 
such  study  you  will  find  later  on  that  it  is  as  if  scales 

6 


had  fallen  from  your  eyes  when  you  enter  the  sacred 
Temple  of  the  Muses. 

23.  When  your  teacher  gives  you  Sebastian  Bach's 
■works  to  study,  rejoice  that  he  should  think  you 
worthy  and  competent  to  familiarize  yourself  with  the 
greatest  master  of  tone  in  the  universe.  Even  if  you 
fiud  no  taste  for  the  same  at  the  beginning,  do  not  be 
led  astray,  but  bear  in  mind  that  you  must  first  culti- 
vate your  taste. 

24.  Take  every  opportunity  to  attend  concerts  at  which 
good  music  is  artistically  performed,  but  shun  low  and 
trivial  operetta  and  music  hall  entertainments,  where 
art  is  trampled  under  foot. 

25.  If  you  have  any  voice  at  all,  sing  in  a  choir,  tak- 
ing in  preference  a  middle  part.  That  makes  one 
musical.  But  if  you  have  good  vocal  qualities  do  not 
delay  in  cultivating  the  voice. 

"  Regard  it  as  the  grandest  gift 

That  Heaven  has  granted  thee." — Robert  Schumann. 

26.  Should  the  opportunity  exist,  avail  yourself  of  it 
in  order  to  practice  the  organ  or  harmonium.  Every 
inaccurate  and  careless  execution  on  either  of  these 
instruments  is     its   owr    immediate    avenger.      Tha 


mighty  harmonic  effects  will  inspire  you  with  a  love  for 
the  noble  and  beautiful  in  art. 

27.  If  you  play  a  stringed  instrument  strive  to  cooper- 
ate in  quartette  or  orchestral  works,  but  remember, 
that  if  all  would  play  first  violin,  there  would  be  no 
orchestra. 

28.  An  ordinary  violinist  always  carries  a  new  set  6^ 
strings,  rosin,  and  mute  with  him.  A  thorough  violin' 
Lt  can  also  play  the  viola. 

29  As  soon  as  you  are  old  enough,  take  up  the  history 
of  music  as  a  study.  It  is  of  as  much  importance  to 
the  musician  as  universal  history  is  to  the  educated 
man. 

30.  Honor  your  teachers,  the  masters,  and  all  those 
who  have  awakened  and  developed  your  artistic  exist- 
ence. Do  not  become  proud  if  you  should  happen  to 
surpass  them.  On  the  contrary,  be  doubly  thankfuJ 
to  them  for  your  success. 


J 


y 


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